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A Sewing  Course 

FOR  TEACHERS 

COMPRISING 


Directions  for  Making  the  Various  Stitches 

AND 

Instruction  in  Methods  of  Teaching 


BY 


MARY  SCHENCK  WOOLMAN,  B.  S. 

PRESIDENT  OF 

THE  WOMEN’S  EDUCATIONAL  AND  INDUSTRIAL  UNION  AND  PROFESSOR 
OF  HOUSEHOLD  ECONOMICS  IN  SIMMONS  COLLEGE 


Fifth  Edition,  Revised 


WASHINGTON,  D.  C. 
Frederik  A.  Fernald 
1913 


COPYRIGHT  1893  and  1908 


BY 

MARY  SCHENCK  WOOLMAN 


An  Interleaved  Edition  of  this  book  is  published,  in  which  are  inserted  31 
leaves  of  bristol-board  for  mounting  the  practice  pieces  made  by  the  student. 
Price,  $3. SO  net. 

Interleaved  copies  with  sets  of  models  mounted  on  the  bristol-board  leaves 
can  be  supplied  by  the  Domestic  Art  Department  of  Teachers  College. 
Price,  $19.25  net. 


s $ / 


if, 


.STO.hA(s»ifc 


PREFACE. 


The  introduction  of  manual  training  as  a necessary  part  of  education  has 
raised  sewing  to  an  art  of  great  importance.  Outside  of  the  practical  advantage 
of  being  able  to  use  the  needle,  the  mental  training  through  hand  and  eye  has 
been  proved  to  have  a permanent  effect  on  the  character.  The  training  of  the 
hand  makes  it  dextrous  in  other  employments.  Habits  of  thrift,  cleanliness, 
patience  and  accuracy  are  inculcated,  economy  taught  and  the  inventive  faculty 
developed.  Attention  and  the  power  of  observation  are  increased  by  giving  the 
lesson  to  an  entire  class  at  one  time  instead  of  by  the  old  method  of  showing  each 
pupil  separately. 

In  order  to  get  the  best  results,  certain  fixed  rules  must  be  followed;  to  meet 
this  want,  these  brief  notes  are  given  for  the  use  of  teachers.  The  course  is  care- 
fully graded  to  lead  the  mind  gradually  upward  to  more  difficult  needlework. 
An  enthusiastic  and  progressive  teacher  can,  through  sewing,  make  freer  and 
more  capable  beings  of  her  pupils  and  help  round  out  their  characters. 

[From  the  first  edition,  1893.] 


* 


T 


PREFACE 

to  the 

SECOND  EDITION. 


The  careful  student  of  the  trend  of  educational  thought  in  the  present  day  is 
impressed  with  the  idea  that  it  is  as  necessary  to  provide  in  the  schools  for  some 
form  of  hand  work  as  it  is  for  academic  study.  From  this  point  of  view,  sewing 
and  attendant  forms  of  household  industries  may  be  valuable,  as  they  can  present 
strong  sociological,  economic  and  ethical  arguments  for  their  introduction.  It  is 
not  a question  of  preparing  for  a trade,  it  is  to  give  mental  and  moral  strength,  to 
increase  appreciation  for  the  true  and  the  beautiful,  and  to  develop  a love  of  doing 
and  a desire  to  do  for  others. 

This  second  edition  of  the  “ Sewing  Course”  is  sent  out  with  many  added 
suggestions  to  teachers,  on  means  of  cultivating  the  thought,  will  and  judgment 
of  the  classes,  and  for  obtaining  results  in  creative  self-activity,  which  will  help 
the  child  more  capably  to  take  his  place  in  society. 

Mary  Schenck  Woolman, 

Director  of  Domestic  Art , Teachers  College. 

New  York,  June , 1900. 


PREFACE 

to  the 

THIRD  EDITION. 


In  sending  forth  the  third  edition  of  the  u Sewing  Course  ” the  author  would 
urge  anew  upon  all  sewing  teachers  their  need  of  knowing  the  general  work  of 
the  grades  or  high  schools  in  which  they  are  teaching,  and  the  home  conditions 
of  the  pupils,  that  they  may  plan  their  courses  of  work  for  actual  service.  The 
educational  world  is  waking  up  to  the  fact  that  the  Household  Arts  may  be  of 
great  value  in  the  school.  The  well-trained  teacher  has  brought  this  about  by  the 
correlation  she  has  made  between  the  general  academic  work,  the  art,  and  the 
handicraft  courses.  A series  of  set  models  may  serve  a useful  purpose  in  quickly 
giving  accurate  ideas  to  teachers,  but  they  have  no  place  in  school  work.  The 
logical  development  of  the  stitches  is  an  insignificant  aim  in  comparison  with  the 
logical  development  of  the  child.  This  book  for  teachers  suggests  many  worth 
while  articles  which  may  be  used  in  teaching  the  subject  in  the  schools. 

Mary  Schenck  Woolman, 
Professor  of  Domestic  Art , Teachers  College 
and 

Director  of  the  Manhattan  Trade  School  for  Girls. 

New  York,  May  23,  1905. 


4 


PREFACE 

to  the 

FOURTH  EDITION. 


The  fourth  edition  of  the  Sewing  Course  has  been  entirely  rewritten  and 
contains  almost  a new  volume  on  teaching.  This  educational  section  has  been 
prepared  in  response  to  the  frequently  expressed  wish  that  the  author  would  dis- 
cuss this  subject  for  the  benefit  of  those  teachers  who  had  not  taken  the  Domestic 
Art  Course  at  Teachers  College.  The  book  was  originally  written  for  the  College 
students  to  supplement  their  instruction  by  technical  data.  It  is  now  in  use 
throughout  the  United  States.  Since  it  was  first  issued,  in  1893,  there  has  been 
a great  evolution  in  educational  thought  and  still  further  changes  are  imminent. 
Interest  in  manual  training  has  grown  and  is  gradually  being  supplemented  by 
enthusiasm  in  many  new  phases  of  industrial  and  trade  education.  The  teachers 
of  handwork  have  now  a very  responsible  work  to  do.  As  a preparation  for  it 
they  need  as  excellent  a culture  foundation  and  pedagogical  training  as  any  aca- 
demic teacher.  In  addition  they  must  have  satisfactory  technical  experience.  The 
author  trusts  that  these  suggestions  for  teaching  may  be  of  service. 

The  new  educational  views  which  affect  the  teacher  of  sewing  have  come 
gradually.  The  narrow  sewing  course  of  the  early  schools  was  first  strengthened 
by  the  added  requirements  for  training  mind,  emotions  and  habits.  Soon  another 
phase  appeared  and  efficiency  in  life  and  social  service  became  the  goal  of  hand- 
work. Again  the  appreciation  of  the  many  needs  in  American  homes  has  called 
upon  the  teachers  of  the  household  arts  to  consider  these  problems  and  to  aid  in 
their  solution.  The  awakening  of  the  country  to  the  condition  of  the  vast  body 
of  wage  earners  has  again  added  a demand  for  vocational  training  as  a part  of  the 
public  instruction  and  the  teacher  of  manual  arts  finds  her  horizon  again  widen. 
To  be  successful  she  must  know  her  subject  from  all  sides.  The  four  prefaces  to 
successive  editions  of  this  book  show  between  their  lines  the  gradual  awakening 
to  new  values  in  hand  training  in  education. 

Mary  Schenck  Woolman. 

New  York,  March  27,  1908. 


CONTENTS. 


Notes  for  Teachers 7 

Cardboard  Sewing 35 

Canvas  Work.  37 

Weaving ... .... 39 

Folding  a Hem 42 

Mitering 42 

Running  .*44 

Stitching  and  Backstitching  . . . 47 

Overcasting 48 

Running  and  Backstitching 49 

Hemming  51 

Overhanding 53 

Garment  Bias 55 

True  Bias 57 

Bias  Ruffle 58 

Seams  59 

Felling V 59 

French  Seam  60 

Overhand  and  Fell  and  Other 
Seams  61 


Application  of  Stitches  62 

Buttonholes  67 

Eyelets  69 

Loops 70 

Sewing  on  Buttons 71 

Blanket  Stitch  or  Flat  Button- 
hole Stitch 71 

Placket  No.  1 73 

Placket  No.  2 74 

Placket  No.  3 . / . 75 

Gusset  77 

Sewing  on  Tape 79 


Tucking 81 

Putting  on  a Band 82 

Darning 85 

Outline  of  Weaving  and  Darn- 
ing   89 

Patching  ... 91 

Hemmed  Patch 93 

Overhand  Patch 94 

Flannel  Patch 95 

Damask  Patch  96 

Cloth  Patch  ' 97 

Feather  or  Coral  and  Chain 

Stitching 99 

Herring-Bone 103 

Hemstitching.  Drawn  Work.  . . .105 

Whipped  Hem 107 

Cross  Stitch  109 

Satin  Stitch.  Tying  Fringe.  ...  110 

Embroidery  on  Flannel 113 

Couching  and  Applique 114 


DRESSMAKING. 

Sewing  on  Braid  and  Velveteen.  117 
Placket  and  Pocket  for  Wool 


Dress  Skirt  119 

Front  of  Waist,  Hooks  and 

Eyes  121 

Bone  Casing,  Seam  Binding 122 

Slip  Stitching 124 

Prices  of  Materials 125 

Suggestive  List  of  Domestic  Art 

Books  128 

Index  135 


NOTES  FOR  TEACHERS 


Purpose  of  the  Sewing  Course. 

This  book  is  written  for  the  purpose  of  giving  to  teachers  the  most  important 
principles  of  plain  sewing.  Since  there  is  not  time  in  the  courses  in  normal 
schools  for  each  student  to  make  every  article  suitable  for  children  it  is  suggested 
that  some  practice  work  in  stitches  has  a justifiable  place.  These  exercises,  if 
desired,  may  be  retained  for  use  in  teaching,  but  such  work,  even  in  training 
schools,  must  be  supplemented  by  numerous  finished  articles.  Younger  pupils 
naturally  need  practice  on  stitches  before  beginning  on  an  article  or  garment,  but 
such  practice  should  be  continued  only  long  enough  for  them  to  gain  sufficient 
skill  for  the  purpose  in  view.  The  trial  piece  may  then  be  discarded.  It  is  a 
mistake  for  children  to  continue  to  make  one  stitch  until  perfection  is  reached 
before  utilizing  it  on  some  interesting  object.  Accuracy  of  thought  and  of  action 
are  not  gained  by  such  vain  and  tiresome  repetitions,  but  rather  a feeling  of  ennui 
or  even  a dislike  of  the  work.  Teachers  do  not  expect  that  each  letter  of  the 
alphabet  must  be  made  perfectly  before  giving  instruction  on  the  next  or  before 
teaching  the  classes  to  spell.  Indeed  the  written  word  is  often  poorly  executed 
throughout  life  and  yet  is  indispensable.  By  some  unknown  reasoning,  however, 
many  teachers  of  sewing  insist  that  each  stitch  must  be  made  perfectly  before 
allowing  a pupil  to  begin  on  a new  one.  Many  will  also  require  students  to 
know  all  of  the  important  stitches  before  suggesting  the  use  of  any  of  them  to 
construct  articles.  The  unfortunate  fact  is  that  they  thus  keep  the  pupils  from 
using  the  knowledge  they  have  acquired  and  thereby  lose  a powerful  ally  in  the 
spontaneous  handwork  which  is  so  natural  to  the  child.  Every  one  who  attempts 
to  teach  sewing  should  become  familiar  with  the  stitches,  by  actual  experience,  and 
should  take  her  own  work  to  the  classes  to  give  ideas  of  correct  construction  and 
neat  finish.  These  notes  for  teachers  and  the  instruction  under  each  description 
of  stitches  afford  a basis  for  planning  courses  suited  to  various  kinds  of  schools 
and  to  children  of  different  ages  and  conditions  of  development.  Under  the  de- 
scriptive sections  will  be  found  lists  of  materials  necessary  for  practice  and  also 
suggestions  for  application.  It  is  expected  that  each  teacher  will  practice  the 
stitches  and  then  apply  them  to  the  making  of  small  finished  articles  suitable  for 
children  and  calculated  to  develop  their  natural  activity  and  encourage  them  to 
be  creative.  These  articles  should  be  mounted  with  the  practice-pieces  on  the 
bristol-board  leaves  of  the  Interleaved  Edition  of  the  Sewing  Course. 

7 


8 


A SEWING  COURSE 


Mounting  Finished  Work. 

Object  teaching  is  an  important  factor  in  the  schools,  and  the  teacher  of  sewing 
will  find  samples  of  her  own  hand  work  will  greatly  assist  her  in  giving  correct 
ideas  of  construction  to  her  pupils. 

Leaves  for  mounting  finished  work  are  inserted  in  the  Interleaved  Edition  of 
this  book.  The  teacher  or  normal  student  may  fasten  on  the  bristol-board  leaves 
the  articles  or  models  made  by  her.  Care  should  be  taken  to  arrange  them  effec- 
tively. The  McGill’s  paper  fasteners,  No.  AAi,  are  more  satisfactory  than  paste, 
and  two  samples  can  often  be  placed  on  one  page.  Some  soft  colored  paper, 
pasted  carefully  on  the  bristol-board  improves  the  appearance  of  the  articles  made 
of  white  material.  One  sample  can  combine  a number  of  stitches ; illustrations 
of  this  are  a small  towel  with  a hemstitched  border  and  marked  with  initials  in 
cross-stitch,  with  a loop  of  tape  to  hang  it  up  ; or  a flannel  skirt  in  which  stitch- 
ing, hemming,  herringbone,  putting  on  a band,  a button-hole  and  sewing  on  a 
button  are  all  used. 

The  Teacher. 

Many  qualities  unite  In  the  making  of  a good  teacher.  Her  personality  is 
most  important,  for  her  physical,  mental  and  moral  influence  is  ever  moulding 
her  pupils,  even  without  her  conscious  effort.  Her  special  training  should  be  of 
the  best.  Its  foundation  should  be  cultural,  supplemented  by  a knowledge  of  the 
problems  of  modern  education,  and  by  the  ideals  of  her  own  Household  Arts  field. 
She  should  also  have  ample  technical  skill  and  experience.  Without  a professional 
preparation,  she  is  too  much  handicapped  to  accomplish  all  that  is  possible  in  this 
branch  of  education.  Furthermore,  the  spirit  which  she  brings  to  her  work  will 
determine  largely  the  character  of  her  success.  Much  possible  good  will  be  unat- 
tained if  her  aim  is  simply  to  inspire  her  classes  to  complete  a series  of  good  models, 
or  even  of  useful  articles.  Supplementary  ideals  are  needed  to  make  her  pupils 
efficient  for  good  in  the  world.  Such  ideals  will  require  her  to  study  the  needs, 
characteristics  and  environment  of  her  pupils,  that  she  may  develop  thoughtful, 
responsible  workers  who  have  a worthy  purpose  to  carry  out.  She  must  gradually 
bring  them  in  touch  with  the  problems  of  industrial  workers  also,  that  they  may 
have  an  increasing  desire  to  themselves  lend  a hand  in  the  world’s  work.  A 
teacher  well  prepared  in  her  subject,  with  an  ethical  aim  such  as  the  above,  will 
find  the  children  in  her  classes  growing  into  active,  dependable  women. 

Sewing  in  the  Public  Schools. 

Sewing  was  introduced  into  the  curriculum  of  public  schools  many  years  ago 
for  utilitarian  purposes,  i.  e .,  it  was  felt  that  girls  needed  to  know  how  to  sew, 
and  as  they  failed  to  learn  at  home,  the  public  schools  provided  this  instruction. 
Material  results  were  emphasized  and  little  or  no  thought  was  given  to  the  train- 
ing of  the  brain  through  the  hand.  Looked  at  from  this  side  alone,  the  work  has 
much  to  recommend  it,  for  it  is  of  life-long  use  to  the  children.  The  object  of 
the  school  is  not,  however,  solely  to  provide  a means  of  earning  a livelihood,  but 


NOTES  FOR  TEACHERS 


9 


aims  at  “the  full  and  harmonious  development  of  all  of  the  powers  of  the  indi- 
vidual,” that  they  may  be  used  in  efficient  service  to  society.  This  educational 
foundation,  however,  should  be  such  that  it  may  serve,  when  necessary,  as  an 
effective  basis  for  vocational  life.  Sewing  may  be  of  true  worth  in  the  curri- 
culum if  it  enables  the  pupil  to  help  herself,  inclines  her  at  the  same  time  to  assist 
others,  shows  her  the  connection  of  her  work  with  the  world’s  industrial  interests, 
and  makes  her  sympathetic  with,  and  appreciative  of,  the  army  of  those  who  work. 
It  frequently  fails,  however,  of  its  full  value  through  lack  of  breadth  in  the  point 
of  view  of  the  teacher.  The  “ Sewing  Course  ” aims  to  indicate  lines  of  thought 
for  her  study  and  reflection  through  which  she  may  increase  the  efficiency  of 
her  work. 

Self-activity  and  Social  Service. 

Frobel’s  heartfelt  cry  of  the  need  of  training  every  child’s  natural  activity  if 
he  would  be  harmoniously  developed  gave  a new  meaning  to  manual  work. 
Psychologists  studying  the  development  of  the  brain,  found  that  a complete 
education  included  training  in  action,  as  well  as  in  thought.  Gradually  the 
entire  attitude  toward  the  training  of  the  hand  changed,  as  more  study  was  given 
to  its  proper  function  in  the  school,  and  manual  training  is  now  felt  to  be  as 
necessary  in  education  as  any  academic  study.  The  modern  curriculum  gives  the 
opportunity  to  use  the  hand,  will  and  mind  together.  A desire  to  be  of  service 
in  the  world  comes  naturally  as  the  means  for  such  helpfulness  are  increased,  but 
the  teacher  has  it  in  her  power  to  develop  higher  ideals  of  social  usefulness  in 
each  student.  Sewing  is  one  phase  of  manual  training;  it  comes,  or  it  should 
come,  close  to  the  interests  of  childhood  and  it  offers  innumerable  ways  by  which 
a child  may  be  of  assistance  in  the  home  and  in  the  school. 

The  Need  of  Child  Study. 

If  sewing  is  to  add  to  the  mental  and  moral  strength  of  the  children,  if  a love 
of  the  true  and  beautiful  is  to  come  through  it,  the  work  must  take  them  into 
account.  The  child  must  not  be  sacrificed  to  the  model,  or  garment,  by  the 
demand  of  the  teacher  for  over-accurate  work,  for  neat  adjustments  at  an  early 
age,  or  for  the  stupid  task.  The  interest  and  development  of  the  child  must  be 
considered  in  the  selection  of  the  course.  Setting  her  to  make  articles  suited  to 
her  capacity  and  considered  by  her  as  worth  doing  is  the  only  sensible  method  of 
gaining  her  enthusiasm  and  of  bringing  out  her  creative  ability.  The  stitch 
should  be  taught  as  a means  by  which  she  may  construct  a definite  article,  and 
not  as  an  end  in  itself,  as  is  the  case  in  the  usual  model  work.  Watch  a child 
learning  a new  stitch,  which  will  help  her  construct  an  interesting  article.  Her 
heart  is  in  it,  as  the  subborn  little  fingers  are  put  in  place,  and  the  will  power 
brought  into  play.  Her  whole  body  shows  lively  interest  and  she  overcomes  dif- 
ficulty after  difficulty  in  her  road  to  success.  Give  the  same  child  a set  of  models 
to  make  which  have  been  arranged  by  the  teacher  apart  from  the  interests  of 
childhood  and  she  will  become  fatigued,  and  instead  of  utilizing  her  own  will  the 


A SEWING  COURSE 


JO 

teacher  will  have  to  step  in,  and  by  urging,  perhaps  even  scolding,  keep  her  at 
her  tiresome  task.  The  mental  and  physical  development  of  the  child  must  show 
the  teacher  the  sort  and  amount  of  work  and  the  best  manner  of  teaching. 

Children’s  Work. 

In  early  years  the  child  should  not  be  allowed  to  do  fine  sewing.  Primitive 
nations  used  the  needle  in  many  ways  adapted  to  the  use  of  children,  in  coarse 
weaving;  in  basketry,  in  which  more  or  less  rigid  material  was  sewed  together 
with  softer  fibres,  such  as  wool  and  twisted  bark  ; in  mats,  hats  and  baskets  of  the 
raffia  palm  fibre  ; in  braiding ; knotting;  twining  and  netting.  All  of  these  early 
steps  in  household  art  make  an  excellent  foundation  for  sewing,  and  may  be  used 
to  great  advantage  in  the  primary  grades,  where  the  awakening  power  of  the 
child  demands  work  in  rapid  construction  and  large  adjustments.  The  articles 
should  be  simple  in  construction  and  of  a character  to  appeal  to  their  interests. 
They  should  be  worth  doing.  Pricked  cards  are  sometimes  used,  but  they  are 
often  injurious  to  the  eyes.  If  they  are  felt  to  be  a good  link  between  kinder- 
garten and  primary  the  simplest  designs  should  be  chosen.  Coarse  canvas  of 
some  dull  color,  which  will  not  be  hard  on  the  eyes,  is  a good  material  for  chil- 
dren to  use.  The  stitches  may  be  worked  in  colored  wools,  and  prove  a decora- 
tive feature.  Many  little  articles  may  be  made  from  the  canvas,  such  as  needle- 
books,  markers,  blotters,  napkin-rings  and  mats.  Coarse  needles  and  coarse  yarn 
should  be  used  on  loosely  woven  material.  Dust-cloths,  iron-holders,  pot-lifters, 
book-covers,  primitive  dress,  curtains  and  hangings  for  doll’s  houses  and  many 
other  useful  and  interesting  things,  suited  to  the  ability  of  children  and  through 
which  they  may  gradually  learn  to  use  the  needle,  may  be  made  with  coarse 
stitches.  The  beginning  of  sewing  is  difficult  for  little  hands  and  the  use  of  the 
tools  needs  to  be  taught  slowly.  If  the  thimble  is  not  constantly  used  at  first  it  is 
not  a serious  fault.  Much  patience  is  often  required  on  the  part  of  the  teacher 
and  also  of  the  child  to  attain  to  the  correct  position  of  the  fingers  and  to  the  use 
of  the  nefedle  and  thimble.  Neither  fine  work  nor  many  repetitions  of  an  exercise 
should  be  expected.  Judgment  and  skill  are  of  slow  growth,  and  the  demand  for 
them  at  an  early  age  is  always  discouraging  to  the  pupil,  and  often  positively 
harmful.  As  far  as  possible  each  child  should  prepare  her  own  work.  Finer 
and  more  technical  needle-work  may  be  introduced  after  the  first  few  years  in 
school,  but  here  also  the  practicing  of  the  stitches  should  be  followed  by  their 
application  in  interesting  small  articles.  The  child  learns  better  by  making  many 
simple  things,  even  in  an  imperfect  way,  than  from  solely  repeating  the  stitches 
until  each  one  is  perfect  and  then  later  applying  them. 

Class  Lessons  and  Drills. 

Learning  to  sew  is  a difficult  task,  especially  in  the  early  grades,  as  the  man- 
ner of  using  the  tools  is  hard  to  master.  When  each  child  in  a large  class  is 
taught  individually,  the  patience  of  those  waiting  for  the  teacher’s  attention  is 
soon  exhausted,  and  discipline  is  apt  to  be  poor.  It  is  better  for  a teacher  to  give 


NOTES  FOR  TEACHERS 


II 


a new  lesson  to  the  entire  class  at  one  time,  and,  when  all  have  begun  to  work,  to 
give  such  individual  help  as  is  needed.  The  fingers  seem  easier  to  control  when 
the  new  action  is  practiced  in  unison,  and  many  of  the  necessary  movements  may 
be  taught  in  this  way.  The  position  of  the  fingers  and  needle  in  certain  stitches, 
the  knotting  of  the  thread,  the  necessary  movements  in  sewing,  and  the  use  of 
scissors  may  be  so  given  by  a judicious  teacher  that  they  are  quickly  learned. 
Regular  drills  for  this  purpose  have  been  used  in  England,  and  to  some  extent  in 
America.  They  are  apt,  however,  to  be  too  mechanical  to  be  of  as  much  value  as 
a short  attractive  lesson  on  how  to  work,  followed  by  the  speedy  beginning  of  the 
construction  of  some  article  by  each  child.  Avery  few  minutes  at  the  beginning 
of  a lesson  is  sufficient  to  show  a new  motion,  while  much  time  can  be  wasted  in 
precise  drill.  In  older  grades,  even  where  the  teacher  wishes  to  obtain  original 
plans  from  each  pupil,  class  lessons  which  call  out  thought  and  creativity  will  be 
found  more  inspiring  than  individual  instruction  alone. 

Finished  Articles  and  Connected  Thought. 

A course  of  sewing  gives  innumerable  opportunities  for  the  construction  of 
serviceable  and  interesting  things.  Teachers  need  never  be  at  a loss  for  appli- 
cation of  any  stitch  in  a useful  article  which  offers  excellent  constructive  possibili- 
ties and  can  be  made  at  a very  small  expense.  There  are  numerous  things  to 
choose  from  which  are  quickly  made  and  simple  enough  in  construction  for  very 
young  children.  Mats,  bags,  dusters,  pin-cushions,  needle  and  pin  cases,  whisk 
broom  and  other  holders,  moccasins,  signal  flags,  sails,  blankets,  and  simple  gar- 
ments or  house  furnishings  may  be  made  with  coarse  stitches,  and  yet  be  effective 
for  use.  An  almost  endless  number  of  more  elaborate  things  may  be  made  by 
older  children.  It  is  well  for  the  teacher  to  remember  that  good  workers  enjoy 
difficult  tasks,  and  it  is  a mistake  to  give  too  easy  work  to  older  girls,  who  have 
had  experience.  A course  of  sewing  may  be  so  chosen  that  it  adapts  itself  to 
different  environments,  to  varied  possibilities  of  expense,  or  to  conditions  which 
need  consideration  or  direct  assistance. 

Opportunity  should  be  taken  regularly  to  develop  social  and  economic  thought 
in  the  pupils.  Such  discussions  may  be  conducted  as,  the  kinds  of  material 
adapted  to  the  purpose  in  hand,  the  values  of  differing  fibers,  the  consideration  of 
cost,  the  elimination  of  waste,  and  the  condition  of  the  workers  in  the  regular 
market  engaged  in  similar  occupations. 

It  is  sometimes  well  for  the  teacher  to  center  the  sewing  around  some  special 
subject,  such  as  clothing  to  be  worn  by  school  children.  Under  such  a topic  as 
this  the  class  can  consider  what  is  the  most  hygienic  kind  of  dress,  the  proper 
style  to  use  on  various  occasions,  the  best  clothing  at  the  least  expense,  and  how 
to  utilize  simple  decoration  with  attractive  results.  Whole  neighborhoods  may  be 
helped  by  such  study.  The  garments  may  be  made  in  large  or  in  small  sizes, 
according  to  the  age  and  ability  of  the  children,  or  to  the  time  available  for  sew'- 
ing.  They  can,  if  desired,  make  every  piece  of  clothing  from  combination  under- 
wear to  hats  and  coats  for  out  of  door  service.  Other  subjects,  such  as  cooking, 


12 


A SEWING  COURSE 


cleaning  and  serving,  the  needs  of  the  linen  closet,  historic  dress,  the  furnishing 
of  a room  or  house,  uniforms  and  equipment  for  nurses  or  housemaids,  may  each 
suggest  a new  set  of  articles  for  the  classes  and  furnish  matter  for  discussion  and 
study. 

Correlation. 

There  is  continual  opportunity  for  connecting  a course  of  sewing  with  the 
every-day  life  of  the  children  at  home,  at  school,  or  in  society,  and  gradually 
interesting  them  in  the  bettering  of  industrial  conditions.  To  do  this  adequately 
and  easily,  the  special  teacher  must  be  familiar  with  the  homes  and  lives  of  her 
pupils,  and  must  also  know  the  aims  and  subject  matter  of  the  regular  school 
work.  By  consultation  with  the  grade  teachers  she  will  know  the  wisest  time  to 
introduce  discussions  connecting  the  handwork  with  academic  interests.  Such 
subjects  as  the  properties  and  values  of  materials,  the  countries  growing  or  manu- 
facturing them,  and  the  development  of  commerce  on  account  of  the  great  textile 
industries,  belong  to  geography  and  history,  as  well  as  to  our  industrial  life. 
English  may  be  turned  to  account  in  personal  or  business  correspondence ; vocab- 
ularies of  materials  and  industrial  processes ; adequate  recording,  oral  and 
written ; and  in  business  usages.  Computations  of  the  expenses  necessary  for 
making  garments,  the  division  of  the  income,  the  keeping  of  accounts,  and  the 
consideration  of  the  cost  of  living,  connect  arithmetic  with  sewing.  Further- 
more, the  decoration  of  articles,  the  beauty  of  materials,  historic  dress,  embroid- 
eries, laces  and  textiles  are  fine  art  as  well  as  household  art  interests.  The  school 
should  recognize  these  relationships  and  should  so  utilize  the  handwork  that  it 
will  illustrate  and  strengthen  the  study  courses.  In  other  words,  sewing  has  a 
cultural  background  which  should  be  utilized,  not  only  to  increase  the  interest  in 
it,  but  also  to  aid  in  the  unification  of  all  the  school  subjects  by  a worth-while 
correlation.  Results  of  value  can  only  be  obtained  when  the  teacher  of  sewing 
studies  all  of  these  related  fields  for  herself.  Serious  work  on  the  part  of  a large 
number  of  the  special  teachers  would  greatly  help  in  solving  some  of  our  greatest 
social  problems.  The  improving  of  the  home  ; the  bettering  of  the  working  con- 
ditions of  women,  by  bringing  about  adequate  laws  concerning  them  ; wholesome 
factory  conditions,  and  the  increasing  of  respect  for  handwork  and  handworkers, 
are  instances  of  needed  reforms.  The  regular  grade  teacher  cannot  be  expected  to 
do  this  alone,  for  she  has  not  studied  industrial  interests  in  her  preparation  for  teach- 
ing. Her  hearty  co-operation  is  always  given,  however,  to  the  special  teacher 
who  works  wisely  and  tactfully  with  her.  Forced,  unnatural  correlations  between 
handwork  and  academic  work  do  more  harm  than  good.  The  sewing  alone  is  of 
greater  use  to  the  children  than  when  accompanied  by  encyclopaedic  information 
on  industries  imparted  to  the  class  by  the  teacher  and  called  correlation.  Various 
methods  may  be  used  to  interest  the  classes  in  personal  investigation.  Subjects 
may  be  set  beforehand,  that  research  may  be  done  by  the  classes,  and  either  oral 
or  written  work,  of  an  original  character,  may  follow  and  serve  to  combine  an 
English  lesson  with  one  on  Household  Art. 


NOTES  FOR  TEACHERS 


13 


Textile  Study  in  the  Schools. 

The  Study  of  Textiles  has  been  accorded  a place  in  the  curriculum  of  many 
schools  on  account  of  its  educational,  as  well  as  its  practical,  value.  Woven 
materials  play  an  important  part  in  the  every-day  life  with  which  the  school 
wishes  to  connect.  The  evolution  of  the  modern  textile  industries  has  influenced 
the  development  of  all  nations  so  that  the  history  of  the  gradual  growth  of  the 
primitive  into  the  civilized  world  is  closely  connected  with  changes  in  the  textile 
field.  The  early  beginnings  offer  excellent  suggestions  for  courses  of  handwork 
and  design.  In  addition,  the  industrial  and  commercial  aspects  of  history,  Eng- 
lish, geography  and  arithmetic  are  made  more  real  and  valuable  by  using  the  tex- 
tile interests  in  correlation.  This  subject  may  serve,  therefore,  as  a means  of 
unifying  the  school  studies.  Industrial  organization  underlies  our  present  civili- 
zation. Conditions  which  affect  our  industries  reach  our  social  life.  The  textile 
industries  are  especially  influenced  by  women,  and  their  knowledge  or  ignorance 
as  consumers  are  controlling  factors  in  the  nation’s  industrial  development.  It  is 
especially  advantageous  in  every  course  of  sewing  for  girls,  in  either  elementary 
or  secondary  schools,  to  introduce  textile  discussions.  In  elementary  education 
the  value  of  personal  experience  in  primitive  textile  manufacture  has  been  ably 
presented  by  Professor  John  Dewey,*  of  Columbia  University,  and  by  Miss 
Katherine  E.  Dopp,f  of  Chicago  University.  They  advocate  the  reproducing  of 
early  industrial  life  in  the  school,  that  through  it  the  children  of  to-day  may  have 
the  same  incentive  for  thought  and  activity  which  were  the  prime  factors  in  devel- 
oping the  race.  It  thus  leads  these  children  to  an  understanding  of  present  con- 
ditions for  which  our  involved  modern  system  of  factory  work  cannot  be  satis- 
factorily utilized.  The  simple  carding,  spinning,  designing,  weaving  and 
decorating,  as  well  as  many  other  early  occupations,  are  interesting  and  call  for 
reasoning  and  creativity.  Ideas  of  simple  social  conditions  and  of  the  early  organi- 
zation of  society  are  also  given  through  such  study.  The  children  can,  through 
play  or  dramatization,  live  the  life  of  the  early  races,  or  they  can  reproduce  on 
sand  trays  the  entire  community,  with  its  industries  and  interests.  In  later  edu- 
cation, the  historic  side  of  textiles  is  a part  of  industrial  history,  sociology,  eco- 
nomics or  other  studies,  and  it  may  also  connect  practically  with  the  sciences.  In 
addition,  valuable  utilitarian  ideas  which  will  materially  benefit  the  organization 
of  the  home,  as  well  as  react  advantageously  upon  our  manufacturing  interests, 
may  be  obtained  at  every  stage  of  woman’s  education.  The  knowledge  of  the 
physical  construction  of  the  fibers  in  use  and  of  their  properties  will  enable  a pur- 
chaser to  judge  of  their  hygienic  and  warmth-giving  conditions,  as  well  as  of  their 
cleansing  and  laundering  possibilities ; and  the  understanding  of  processes  of 
manufacture  will  assist  the  student  to  judge  of  good  and  bad  materials,  and  of 
adulterations,  to  know  widths,  costs,  and  where  to  find  the  best  markets.  Useful 
knowledge  of  this  sort  should  not  only  make  women  better  and  more  economic 
consumers,  but  should  give  them  new  standards  of  the  beauty  and  service  of 

* School  and  Society. 

t Place  of  Industries  in  Elementary  Education. 


A SEWING  COURSE 


*4 

materials.  This  would  tend  to  eliminate  over-decoration  and  needless  luxury  in 
the  homes.  The  study  of  factories  and  workrooms,  and  the  knowledge  of  methods 
of  manufacture  will  also  bring  about  an  appreciation  for,  and  sympathy  with,  the 
worker,  which  will  make  for  the  permanent  bettering  of  labor  conditions  and  of 
society  at  large. 

Drawing  and  Design. 

Lessons  in  drawing  or  color  should  accompany  the  entire  course  in  sewing. 
The  simple  plans  of  the  first  grade  for  ornamenting  a little  burlap  mat,  needle- 
case  or  cover,  as  well  as  the  high  school  designs  for  underclothing,  shirtwaists, 
hats,  embroideries,  gowns,  and  home  furnishings  require  art  appreciation. 
Drawings  or  color  sketches  should  be  made  and  applied  directly  to  the  problem 
in  hand.  Improved  line,  adequate  decoration,  correct  placing,  harmonious  color 
combinations,  temperance  and  simplicity  in  results  should  be  gradually  attained. 
The  divorce  of  art  from  handwork  is  responsible  for  much  of  our  bad  taste,  and 
as  a result,  the  furnishings  of  our  homes  are  frequently  vulgar ; our  clothing  is 
commonplace,  over-decorated  or  tawdry,  and  our  shops  are  filled  with  poorly 
constructed  articles.  The  product  of  many  of  our  industries  is  influenced  entirely 
by  the  demands  of  women.  It  is  necessary  for  our  country’s  success  that  the 
taste  and  the  knowledge  of  practical  buying  should  be  improved.  The  home 
worker,  the  seamstress,  the  dressmaker,  and  the  milliner  usually  know  little  or 
nothing  of  art ; the  teacher  of  design  has  been  too  ignorant  of  the  technique  of 
these  industries  to  be  of  much  service,  and  the  teacher  of  the  Domestic  Arts  has 
given  her  time  to  her  direct  field,  omitting  the  fundamental  connection  of  applied 
art.  It  is  absolutely  necessary  that  she  should  now  give  sufficient  time  to  the  study 
of  design  to  be  able  to  improve  the  art  of  every-day  life.  This  will  again  react 
on  the  industries.  She  should  either  herself  give  the  necessary  art  lessons  in  her 
classes,  or  be  able  to  direct  the  work  of  the  regular  art  teacher,  so  that  good  prac- 
tical results  may  be  obtained. 

The  Vocational  Foundation. 

The  early  cessation  of  education  confronts  the  teacher  in  the  industrial  sec- 
tions of  large  cities.  A large  number  of  children  leave  school  to  become  wage- 
earners  the  moment  the  compulsory  school  years  are  over  (about  fourteen). 
Many  have  not  graduated,  but  Stop  about  the  sixth  school  year,  or  even  before 
that.  As  the  usual  public  school  courses  are  planned  to  culminate  later,  the  edu- 
cation which  these  young  workers  have  received  is  of  questionable  service  to 
them  in  making  a living.  The  only  gainful  occupations  into  which  they  can 
enter,  therefore,  are  those  which  require  unskilled  labor.  These  seldom  give 
good  opportunities  for  advance,  for  the  skilled  operatives  are  too  busy  to  train  the 
young  beginners.  The  result  is  that  numbers  of  these  children  drift  from  work- 
room to  workroom,  making  only  a small,  inadequate  wage.  The  girls  remain  a 
few  years  in  the  market,  but  find  it  difficult  to  rise  to  $c;.oo  per  week,  which  in 
large  cities  is  merely  a living  wage.  They  then  marry  and  begin  homes  of  their 
own,  but,  even  there,  are  unprepared  to  be  economic  factors.  They  have  not  had 


NOTES  FOR  TEACHERS 


15 


handwork  enough  to  be  good  workwomen,  they  do  not  think  clearly,  express 
themselves  adequately,  take  hold  of  a difficulty  With  any  force  or  initiative,  and 
they  are  frequently  untrustworthy.  Their  English  and  arithmetic  seem  unadapt- 
able to  the  needs  of  the  trade,  or  the  home.  Their  employers  complain  of  them 
and  their  homes  show  poor  management.  The  industries  of  the  country,  the 
homes,  and  society  in  general  would  all  be  benefited  if  they  were  given  a differ- 
ent education  in  the  elementary  school.  They  should  have  a training  of  which 
they  could  make  direct  use,  even  if  they  do  leave  in  the  fifth  or  sixth  grade.  It 
need  not  be  a direct  preparation  for  wage-earning,  but  the  teacher  should  plan 
her  course  of  study  according  to  the  needs  of  the  children  in  the  different  schools. 
It  is  unprofitable  to  give  the  class  of  work  leading  to  entrance  into  the  high  school 
in  sections  of  cities  where  the  majority  of  the  pupils  will  never  even  graduate 
from  the  grammar  grades.  In  schools  where  large  numbers  of  children  will 
probably  enter  industrial  life  the  handwork  could  be  made  an  especially  valuable 
factor.  The  teacher  of  sewing  needs  the  insight  and  the  judgment  to  so  plan  her 
work  that  a foundation  may  be  laid  which  will  be  of  service  either  in  the  trade 
workrooms  or  in  the  homes.  She  can,  through  the  lessons  in  sewing  and  gar- 
ment making,  train  the  girls  to  think  clearly  and  quickly  and  to  execute  well. 
She  should  discourage  all  slipshod  thought  and  work  and  endeavor  to  develop 
trustworthy  natures.  In  districts  where  the  children  usually  go  to  work  early 
good  handwork  courses,  offered  in  the  sixth,  seventh  and  eighth  grades,  and  cor- 
related with  their  other  studies,  would  often  induce  them  to  remain  longer  in 
school.  Both  parents  and  children  value  instruction  which  they  feel  will  directly 
aid  in  life  and  will  sacrifice  much  to  obtain  it.  Such  vocational  work  as  this  is 
greatly  needed  in  city  schools.  The  question  of  direct  trade  education  is  also  im- 
portant. Public  instruction  must  soon  meet  it,  for  both  boys  and  girls,  by  estab- 
lishing special  schools  or  continuation  classes.  The  trade  schools,  under  private 
control,  which  have  been  already  started  have  demonstrated  the  value  of  this  class 
of  instruction.  While  the  aim  of  the  grammar  grades  is  for  a good  foundation 
for  life,  not  for  specialization,  the  work  may  and  should  be  vocational  in  the 
broadest  sense,  in  localities  of  large  cities  providing  workers  for  industries.  The 
training  given  will  thus  be  beneficial,  whether  education  ends  in  the  early  grades, 
or  whether  it  continues  into  the  secondary  schools.  The  fault  at  present  seems 
to  be  that  while  the  present  public  school  curriculum  is  satisfactory  for  those  who 
will  continue  their  education,  it  fails  to  provide  adequately  for  trade  life  which 
begins  at  the  end  of  the  compulsory  school  years.  This  subject,  in  all  of  its 
phases,  should  receive  the  careful  consideration  of  every  sewing  teacher,  as  an 
ever  increasing  number  of  girls  are  going  into  trades  which  use  the  needle  or  the 
sewing  machine. 

Trade  School  Teaching. 

If  a school  is  seriously  preparing  its  pupils  for  trade  life,  the  following 
points  need  special  thought : ( 1 ) The  teacher  cannot  give  her  best  service  unless 
she  knows  the  class  of  work  and  the  requirements  of  the  trade  for  which  she  is 
preparing  her  students.  She  must  have  practical  workroom  experience,  either  as 


i6 


A SEWING  COURSE 


a wage  earner  or  as  a part  of  her  preparation  for  a trade  teacher,  if  she  hopes  to  be 
of  true  value  to  her  classes.  (2)  The  course  of  sewing  which  should  be  given  in  a 
trade  class  must  cover  all  of  the  stitch  forms  and  the  principles  of  construction, 
and  should  also  give  much  of  the  application  which  will  be  demanded  of  such  a 
worker  in  the  market.  Discussions  of  the  methods  used  in  various  workrooms 
should  accompany  the  lessons.  (3)  The  conduct  of  the  class  should  reproduce 
as  nearly  as  possible  that  of  the  regular  workrooms ; skill  and  speed  should  be 
required.  The  girls  should  be  taught  to  think  quickly,  to  understand  directions 
and  to  be  reliable. 

The  difference  between  manual  training,  technical  and  trade  instruction  is  not 
always  understood.  The  explanations  which  follow  give  some  of  the  principal 
differences  in  these  fields. 

The  Manual  Training  School  gives  handwork  with  the  idea  of  utilizing 
its  power  in  developing  or  educating  the  individual  that  the  hand  and  mind  may 
be  trained  together  and  each  help  the  other. 

The  Technical  School  aims  to  help  those  who  already  know  something 
of  a certain  class  of  work  and  wish  more  scientific  or  theoretical  knowledge  of  it. 
It  does  not  purpose  to  take  the  place  of  apprenticeship,  for  the  technical  schools 
in  their  highest  development  prepare  the  foreman  rather  than  the  apprentice. 
Handwork  is  given  to  explain  the  science  rather  than  to  fit  a student  to  be  a trade 
worker.  The  night  technical  schools,  numerous  throughout  the  country,  often 
are,  in  reality,  supplementary  trade  schools.  Some,  however,  of  the  so-called 
technical  schools  partake  more  of  the  nature  of  the  manual  training  schools. 

The  Trade  School  is  designed  to  prepare  apprentices  for  a particular  trade. 
The  decadence  of  the  old  apprentice  system  has  taken  away  the  possibility  of  an 
adequate  training  for  the  young  wage-earner  in  the  ordinary  work-shop.  The 
trade  school  aims  to  take  the  place  of  this  older  form  of  education  by  supplying 
an  economic  instruction  in  the  practical  work  of  various  trades.  The  trade 
school  proper  is,  therefore,  an  enlightened  apprenticeship.  The  main  object  is 
to  help  the  wage-earner  to  become  self-supporting  in  some  direct  occupation. 
Such  schools  may  give  all  day  work  or  they  may  assist  those  who  are  employed 
in  workrooms  during  the  day  by  offering  supplementary  instruction. 

Sewing  in  Foreign  Lands. 

Sewing  is  a usual  form  of  handwork  throughout  the  civilized  and  uncivilized 
world.  The  form  of  the  stitches  varies  little,  but  the  principles  of  construction 
and  the  application  in  articles  and  garments  are  often  entirely  different.  Each 
part  of  the  world  has  characteristic  handwork  of  its  own.  The  American  teacher 
who  goes  to  foreign  lands  to  teach  and  the  native  one,  ambitious  to  do  as  the  more 
civilized  nations  are  doing,  are  apt  to  follow  the  usage  of  the  schools  of  the  United 
States  or  of  the  Continent  of  Europe.  The  better  procedure  would  be  to  study 
first  the  articles  and  garments  known  and  in  use  in  such  lands  and  select  some  of 
them  for  the  class  instruction.  Such  foreign  stitch  forms  as  are  satisfactory  should 
be  adopted  rather  than  the  unnecessary  details  of  our  more  elaborate  system.  When 


NOTES  FOR  TEACHERS 


17 


our  methods  are  needed  and  desirable,  they  can  be  used  as  supplementary  to  the 
native  work.  The  life  of  those  nations  and  its  improvement  or  development 
should,  however,  be  the  basis  for  decision  on  courses  of  work.  In  some  countries 
the  women  and  girls  are  very  deft  with  their  fingers  and  many  nations  have 
developed  wonderful  crafts  of  their  own ; these  should  be  preserved,  if  possible, 
unless  the  best  reasons  exist  for  change.  It  is  stupefying  to  foreign  children  to  be 
given  ideas  of  construction  entirely  at  variance  with  their  previous  knowledge  and 
at  the  same  time,  little  adapted  to  the  life  they  are  living. 

Drafting  and  Cutting. 

In  the  elementary  school  it  is  not  wise,  nor  indeed  is  it  usually  possible,  to 
teach  elaborate  dressmaking.  It  is,  however,  advisable  that  girls  from  the  sixth 
or  seventh  grade  up  should  have  some  experience  in  cutting,  fitting  and  construct- 
ing the  simple  garments  they  wear  or  that  may  be  worn  by  their  younger  sisters 
or  brothers.  Drafting  of  pattern  is  frequently  given  to  accompany  garment-mak- 
ing in  the  higher  grades  of  the  elementary  school,  although  its  principal  use  is  in 
the  high  school.  It  is  of  doubtful  benefit  in  either  when  it  is  given  with  set 
dictated  rules,  for  it  does  not  develop  independence  of  thought  or  of  action.  To 
be  sure,  each  girl  may  through  it  make  a pattern  for  herself  or  for  another,  but 
she  has  usually  gained  little  in  understanding  how  to  adjust  the  draft  to  changing 
fashions  or  how  to  cut  and  fit  easily  when  she  is  away  from  the  teacher.  The 
real  service  which  drafting  may  render  has  been  lost  in  such  cut  and  dried  lessons. 
The  good  dressmaker  and  the  able  woman  in  her  own  home  do  not  rely  on  draft- 
ing to  make  every  new  pattern;  they  are  superior  to  it.  They  can  take  any  one 
they  have  and  adapt  it  to  a new  purpose.  They  completely  cut  it  over  or  increase 
or  decrease  it  where  necessary,  and  obtain  good  results.  The  aim  of  a course  of 
lessons  in  drafting  should  be  to  give  each  pupil  ability  of  a similar  character. 
Freedom  from  set  rules  and  the  knowledge  of  how  to  go  to  work  is  much  more 
necessary  than  merely  having  a good  pattern.  Drafting,  therefore,  should  be  a 
means  to  an  end,  and  not  solely  an  end  in  itself.  Through  it  the  students  should 
learn  the  form  of  the  body  and  the  way  patterns  are  made.  They  should  be  able 
to  appreciate  good  line,  to  utilize  and  alter  any  pattern  so  as  to  conform  it  to  dif- 
ferent figures  or  to  changing  styles.  The  elementary  school  cannot  go  far  in 
this  work,  but  it  is  important  that  the  right  start  should  be  made.  A child  likes 
to  cut  her  own  doll  clothes,  and  the  teacher,  in  even  the  fifth  grade,  can  help  her 
to  improve  upon  her  crude  efforts  and  can  gradually  lead  her  to  see  that  certain 
principles  when  followed,  lead  to  exactness,  as  well  as  to  beauty,  of  result.  As 
the  girl  grows  older,  the  teacher  can  help  her  to  comprehend  the  use  of  the  dif- 
ferent parts  of  paper  patterns.  She  can  gradually  lead  her  up  through  the  simple 
doll  clothes  she  has  cut,  to  the  understanding  of  the  way  to  draft  an  accurate  pat- 
tern. No  matter  how  clever  a demonstrator  a teacher  is,  she  will  fail  to  give  as 
much  help  to  her  class,  while  explaining  a draft,  as  will  be  obtained  by  each 
child  in  her  own  efforts  toward  making  some  pattern  for  her  doll  or  for  herself. 
The  regular  patented  systems  of  cutting  are  of  less  value  in  the  schools  than  the 


i8 


A SEWING  COURSE 


simple  free-hand  ones,  for,  in  the  former,  manufactured  curves  take  the  place  of 
those  drawn  by  hand  and  the  means  of  getting  results  are  often  purposely  obscure. 
The  free-hand  drawing  also  leads  the  student  to  better  feeling  for  good  form  and 
line.  Lessons  in  art  should  be  closely  connected  with  drafting  and  making  of 
pattern.  The  Professional  Schools  of  Paris  teach  pattern  making  by  the  modeling 
of  the  material  on  the  figure,  as  they  feel  it  leads  to  freedom  of  thought,  to  beauty 
of  line,  and  to  personal  independence  and  expertness.  A freehand  drafting  system 
may  be  an  excellent  step  between  the  free  cutting  of  the  early  grades  and  the  pat- 
tern modeling,  but  it  must  be  taught  intelligently.  Each  girl  through  these  lessons 
should  gain  in  ability  to  quickly  cut  and  fit  a waist,  coat,  or  skirt  of  any  kind. 
She  should  gain  in  original  ideas  and  in  the  ability  to  utilize  any  picture  she  sees 
or  pattern  she  may  have. 

Household  Arts  in  the  Grades. 

Handwork  should  begin  in  the  kindergarten  and  continue  to  each  succeeding 
grade  of  the  school.  This  has  been  realized  in  a large  number  of  the  public 
school  systems  of  the  United  States,  and  courses  of  manual  training  are  to  be 
found  at  present  in  various  phases  of  development,  for  they  have  been  introduced 
from  many  standpoints.  The  attaining  of  practical  ends  solely  and  the  serving 
of  purely  educational  ideals  are  illustrations  of  these  varied  aims.  The  possible 
subjects  in  handwork  are  unlimited,  but  random  choice  accomplishes  little.  The 
selection  should  serve  some  worthy  aim  beyond  the  making  of  the  mere  article 
itself. 

Grade  Work  Based  on  the  Industries. 

The  present  interest  in  the  study  of  anthropology  has  had  its  effect  on  the 
course  of  study  in  the  schools  and  has  given  an  impetus  to  the  revival  of  many 
primitive  arts  as  a part  of  the  curriculum.  These  are  excellently  fitted  to  the 
needs  of  early  grades  for  intense  interest  is  easily  aroused  in  children  by  discus- 
sions and  illustrations  from  the  life  of  different  peoples.  The  manner  of  living 
and  the  crafts  of  primitive  nations  such  as  the  Esquimaux,  the  American  Indian 
and  the  Filipino  are  being  carefully  studied  therefore,  with  a view  to  utilizing 
their  simple  crafts  as  school  work,  at  least  for  the  early  grades. 

The  Culture  Epoch  Theory,  which  was  one  of  the  educational  results  of  the 
study  of  the  evolution  of  various  races,  has  greatly  helped  to  develop  a satis- 
factory manual  training  for  young  children.  It  has  been  largely  instrumental, 
also,  in  eliminating  the  often  pernicious  handwork  of  the  past.  At  that  time 
uninteresting  models  or  sectional  parts  of  some  article,  often  requiring  over-fine 
adjustment,  were  alone  to  be  found.  This  early  manual  training  of  the  schools 
dealt  with  but  one  phase  of  handwork,  /.  <?.,  manipulation,  and  failed  to  obtain 
the  higher  good  inherent  in  the  subject.  Our  more  intelligent  study  of  the  child 
has  shown  us  that  such  work  often  injured  the  mental,  as  well  as  the  physical 
development.  We  have  now,  however,  through  the  study  of  the  occupations  of 
primitive  people,  ample  suggestions  for  real  articles,  simple  in  construction,  fitted 
to  the  ability  of  the  children  and  full  of  educational  and  social  value  in  the  hands 


NOTES  FOR  TEACHERS 


19 


of  a wise  teacher.  Those  who  have  watched  and  taken  part  in  this  movement 
have  cause  for  much  satisfaction  that  manual  training  has  been  thus  enriched. 
It  is,  however,  becoming  clear  to  the  more  thoughtful  that  the  evolution  is  not 
complete,  and  that  further  study  and  investigation  are  necessary,  that  the  hand- 
work may  serve  a still  more  important  end  than  merely  repeating  race  history. 

Grade  Work  Based  on  the  Home  and  its  Industrial  Life. 

The  aim  in  the  best  schools  is  clearly  a social  one.  Much  is  accomplished 
toward  this  end  when  the  child  works  with  love  and  interest  on  something  dear  to 
his  own  life  ; greater  good,  however,  will  be  gained  if,  through  the  work,  he  learn 
to  consider  and  assist  others,  and  thus  understand  and  sympathize  with  the  world’s 
work.  The  mere  repeating  of  primitive  arts  will  not  accomplish  this  in  the  best 
way.  The  child’s  world  is  circumscribed.  His  home,  his  play,  and  his  school 
are  his  world,  containing  all  he  knows  of  society.  If  he  would  serve,  he  must 
begin  to  do  so  where  he  can  see  the  value  of  the  service.  The  handwork  sug- 
gested by  the  use  of  early  arts  alone  often  fails  to  connect  with  the  life  of  to-day, 
or  does  it  so  indirectly  that  the  value  to  the  home  of  the  increase  of  a spirit  of  true 
service  is  less  than  it  may  be ; for,  in  such  cases,  the  completion  of  the  article  and 
its  connection  with  the  past  are  too  often  the  final  aims  of  the  work.  The  need 
of  beginning  early  with  classes  of  handwork  which  are  in  direct  connection  with 
everyday  life  is  especially  pressing  in  the  education  of  girls.  American  life  would 
be  greatly  benefited  if  they  had  a better  conception  of  home  life  and  were  able  to 
inaugurate  improvements  in  home  management.  The  strides  made  in  industry, 
science  and  trade  have  not  been  paralleled  by  corresponding  improvements  in  the 
methods  and  life  of  the  home.  The  statement  is  familiar  that  the  home  and  the 
school  must  be  united,  but  very  little  has  yet  been  done  to  really  cement  the  union 
and  cause  the  school  to  react  favorably  on  the  home.  One  great  opportunity  for 
this  interaction  lies  in  the  proper  use  of  handwork. 

The  home  as  a goal  for  the  use  of  the  simple  industries  will  yield  infinitely 
more  to  the  girl  than  will  the  mere  copy  of  early  crafts  without  this  ideal.  A 
teacher  however  cannot  carry  out  this  aim  satisfactorily  unless  she  has  given  some 
study  to  household  conditions  and  to  the  possibilities  of  improvement  in  them. 
Strange  to  say,  a thoughtful,  scientific  investigation  of  the  entire  domestic  situation 
has  hardly  yet  begun,  and  few  teachers  are  prepared  to  deal  adequately  with  it  in 
the  class  work.  The  very  familiarity  of  every  one  with  home  life  has  made  its 
study  difficult.  It  should  be  viewed  from  such  standpoints  as  the  primitive  indus- 
tries once  practiced  there  and  which  have  been  retained,  or  can  be  still  utilized; 
the  art  possibilities ; the  repairs  to  clothing,  furniture  and  utensils ; the  economics 
of . consumption ; the  better  management  with  respect  to  expenses  and  service; 
the  relation  of  the  home  to  society  at  large ; and  the  comprehension  of,  and  sym- 
pathy with,  the  constant  labor  needed  there.  A study  such  as  this  will  lead  the 
teacher  to  see  how  the  handwork  in  every  grade  of  the  school  may  develop  indus- 
trial intelligence,  and  may  also  serve  an  excellent  purpose  in  the  home.  In  addi- 
tion it  should  lay  a good  foundation  for  trade  life,  if  the  girls  desire  to  become 
wage -earners. 


20 


A SEWING  COURSE 


It  is  not  possible  to  lay  out  a course  of  handwork  suited  to  all  conditions  of 
the  school  or  of  life.  The  outlines  which  follow  are  suggestions  for  articles 
suited  to  different  ages  of  children  and  which  may  be  used  to  develop  interest  in 
the  home  and  in  society.  Each  teacher  must  study  the  environment  and  capac- 
ities of  her  children  before  selecting  the  exercises  which  will  best  serve  her  aim. 
She  must,  when  possible,  correlate  with  other  subjects  of  the  grade,  and  must  see 
to  it  that  the  ideals  she  gives  become  actualities  in  the  girl’s  life,  at  home,  at 
school,  or  in  her  contact  with  the  outside  world.  The  pupil  should  gradually 
increase  in  skill  and  gain  a wider  interest  in,  and  grasp  of,  her  relation  to  a well- 
managed  home  and  of  her  responsibility  for  conditions  in  the  industrial  world. 

Many  of  the  articles  mentioned  in  the  outlines  are  as  fitted  to  one  grade  as 
another,  the  manner  of  making  constituting  the  difference.  The  teacher  should 
select  from  the  lists  the  things  she  desires,  and  supplement  them  with  others 
which  are  appropriate,  as  there  is  an  infinite  possibility  for  new  and  interesting 
combinations. 

In  the  first  three,  or  perhaps  four,  grades  the  boys  and  girls  should  be 
together  in  all  of  their  classes.  The  handwork  should  offer  many  varieties  of 
industries,  and  the  regular  teacher  should  conduct  the  work.  Later,  the  girls 
can  continue  with  the  household  arts  in  a group  by  themselves,  while  the  boys 
take  the  handwork  fitted  to  their  interests.  A special  teacher  will  probably  be 
required  for  these  later  grades,  for  much  skill  and  knowledge  will  be  needed.  In 
large  cities  a supervisor  is  appointed  who  plans  the  work  and  either  teaches  the 
grade  teachers  how  to  give  it  or  has  her  own  special  staff  to  teach  it.  The  lists 
given  below  are  suggestions  for  application  primarily  in  sewing,  but  also  refer  to 
other  lines  of  household  art  handwork  which  are  closely  connected. 

Handwork  for  the  First  Four  Years. 

In  the  first  four  school  years  the  handwork  should  be  selected  from  many 
fields.  It  should  never  be  confined  to  one  branch  of  industry.  The  following 
occupations  all  offer  excellent  opportunities  for  the  choice  of  interesting  and 
developing  work  for  early  grades  : coarse  sewing ; cord  and  raffia  work ; spool 
knitting;  crocheting;  knitting  (finger  and  coarse  needle);  weaving;  primitive 
textile  industries  (cleaning,  carding,  spinning,  dyeing,  and  bleaching)  ; calico 
printing;  housekeeping  and  family  life;  housebuilding;  paperhanging;  deco- 
rating and  furnishing ; paper  cutting ; cardboard  construction ; pasting ; drawing, 
designing  and  painting  ; basketry ; clay  modelling ; toy  and  game  making ; wood- 
work ; festival  preparation  (Thanksgiving,  Christmas,  Washington’s  Birthday, 
birthdays)  ; cooperative  work  on  sand  trays  (such  as  Filipino,  Esquimaux,  Rob- 
inson Crusoe,  keeping  store  and  neighborhood  occupations) . 


NOTES  FOR  TEACHERS 


21 


SUGGESTIVE  SEWING  FOR  THE  ELEMENTARY 

SCHOOL. 

First  Grade. 

Coarse  canvas  mat. 

Needlebook  of  card-board. 

Fringed  towel. 

Napkin-ring  of  canvas.  NOTE — The  way  in  which  an  Elementary  School 

Book-marker  of  canvas.  can  make  lts  selection  °*  occupations  from  this  list, 

Iron-holder. 

Pan-lifter. 

Broom-cover. 

Scrub-cloth. 

Dust-cloth. 

Pin-cushion. 

Book-cover. 

Desk-cover. 

Bag  of  canvas. 

Penwiper. 

Second  Grade. 

Table  cover  decorated  with  coarse  stitches. 

Making  and  decorating  moccasins. 

Doll’s  blanket  and  bed-spread. 

Making  articles  for  work-basket. 

Needlecase. 

Scissors-guard. 

Pin-cushion. 

Weather  flags  and  flags  of  nations. 

Articles  for  the  ironing  table. 

Iron-holders. 

Cover  for  ironing-board. 

Clothes-pin  bag. 

Bags  for  carrying  books  or  for  gymnasium  shoes. 

Dress  of  primitive  people. 

Pencil-case. 

Mat,  curtains,  hangings  for  doll  house. 

Book-cover. 

Bead-work  on  chain  or  belt. 

Stuffed  animal  and  doll  cutting  and  making. 

Third  Grade . 

Bags  with  decorations  in  coarse  needlework. 

Sewing-on  buttons. 

Mending  sweaters. 

Ball  covers. 

* 


arrange  a course  lor  eight  grades  and  tnus  lurtner 
its  aim  as  shown  in  Appendix  A.  A one  year  course 
of  work  for  the  High  School  follows  in  Appendix  B. 
This  is  adapted  to  the  first  or  second  year  of  the 
general  High  School. 


22 


A SEWING  COURSE 


Sails. 

Marble-bags. 

Signal-flags. 

Coarse  appliqu£  for  portfolio,  book-cover,  or  table  mat. 

Bag  for  gymnasium  shoes  or  books. 

Braiding  and  decorating  belts. 

Sunbonnet. 

Decorating  woven  material  for  pillow. 

Bead-work  for  decorating  articles  or  for  chains  and  belts. 

Roller  towel  marked. 

Coarse  work-apron. 

Dress  of  peoples  ; such  as  Indians,  Greeks,  Romans. 

Trimmed  hat  of  raffia. 

Doily. 

Table  center. 

Fourth  Grade. 

(I)  Articles  which  may  be  needed  for  use  in  the 

1.  Home,  such  as  simple  upholstery,  rugs,  curtains,  pillows,  towels, 

washcloths,  tray-cloths ; simple  garments,  table-covers,  napkin- 
rings,  button-bag,  needlebook,  pin-cushions,  dust-cap,  work- 
aprons. 

2.  Laundry  — such  as  bags,  holders,  covers. 

3.  School  — working-aprons,  bags,  book-covers,  notebook-covers, 

pencil-cases. 

4.  Play  — tents,  dramatic  work,  toys. 

(II)  Repairing,  mending  sweaters  and  sewing-on  buttons. 

(Ill)  Decoration  and  art  — book-covers,  pillows,  tray-covers,  appliqu£ 
on  table  and  bureau-covers,  needlebooks  and  pin-cushions. 

Fifth  Grade. 

I.  Sewing. 

(I)  Doll’s  house. 

Articles  which  may  be  needed  such  as  mattress,  sheets,  pillow- 
cases, cover  for  couch,  wicker  chairs,  waste-baskets,  curtains, 
scarfs  and  covers. 

(II)  Doll’s  clothing. 

Hat,  cap,  sack  or  sweater,  underclothing  and  outer  clothing. 

(III)  Articles  for  baby  — bib,  sachet,  flannel  jacket. 

(IV)  Home. 

1.  Repairing  — mending  stockings  and  sweaters,  patching 

clothing,  cane-seating  chairs. 

2.  Neatness  — shoe  bags,  laundry  bags,  cooking  and  work- 

aprons,  comb  and  brush-cases,  dusters,  wash-cloths, 
clothes-pin  apron,  sweeping-cap. 

3.  Linen  closet  — sheets,  pillow-cases,  towels  with  hangers 


NOTES  FOR  TEACHERS 


23 


doilies,  marking  linen  with  ink  or  needle,  simple  letter- 
ing, napkins. 

4.  The  girl’s  own  room,  belts,  cuffs,  collars,  needlecase, 

emery-holder,  pin-cushion,  pin-case. 

5.  Supplies  for  emergency,  flannel  bag,  bandages,  poultice. 

6.  Fitting  out  a work  basket  — pinballs  or  cushions,  needle- 

case,  emeries,  scissors-guard. 

(V)  Millinery  — making  and  trimming  simple  raffia  hats  for  dolls. 

(VI)  School  — badges  and  banners,  school-bags  for  books  or  gymna- 

sium shoes,  cooperative  weaving  for  rug  for  school. 

II.  Pattern  making. 

Free  cutting  of  patterns  for  articles,  for  doll’s  or  baby’s  clothing. 

III.  Crocheting  and  knitting  — wristlets,  caps,  hoods  and  jackets. 

Sixth  Grade . 

I.  Sewing. 

(I)  Aprons,  cuffs  and  caps  for  cooking,  embroidery  apron. 

(II)  Neckties,  collars  and  cuffs  for  dresses,  embroidered  or  hem- 
stitched. 

(III)  Simple  underclothing,  combing  towel  or  short  kimono  jacket. 

(IV)  Towels,  workbags,  tray-covers  and  doilies  embroidered  and 

marked,  with  the  needle,  hemstitched  cloths,  doilies  and 
napkins,  table-covers  with  applique  design. 

(V)  Pads,  sachets,  small  travelling-cases  for  embroidery  silks,  money, 
handkerchiefs,  veils  or  gloves,  large  cases  for  shirtwaists  or 
night-dresses. 

(VI)  Costumes  of  historic  times  in  small  size  or  for  dramatic  work. 

(VII)  Darning,  patching  and  repairing  on  real  articles. 

(VIII)  Embroidered  book-covers,  table-covers,  aprons,  sofa-pillows, 
chatelain  pocket. 

(IX)  Bags  for  laundry,  broom,  shoes,  sponge,  or  traveling. 

(X)  The  care  of  tools  and  supplies  with  holders  for  keeping  them. 

II.  Crocheting  or  knitting. 

Bedroom  slippers,  tarn  o’shanter  of  wool. 

III.  Home. 

(I)  Study  of  rooms  and  their  care. 

Useful  things  to  make  for  them. 

(II)  Care  of  clothing,  brushing,  cleaning  and  folding,  choice  and  cost. 

(Ill)  Textiles  — materials,  their  cost,  properties  and  values. 

IV.  Laundry  — How  to  launder  simple  pieces  of  table  linen  and  embroidered 

dress  decoration.  Cost  of  laundering  elaborate  articles  and  clothing. 

V.  Millinery. 

Hats  of  raffia,  lingerie,  or  bought  straw  hats  simply  trimmed. 

VI.  Cutting. 

Simple  pattern  making  and  free-hand  drafting  of  articles  and  clothing. 


A SEWING  COURSE 


24 


Note.  — In  sections  of  large  cities  where  the  children  will  leave  school  early 
to  go  to  work,  it  is  well  to  give  sewing  which  may  be  of  immediate  use  to  them 
either  in  the  market  or  in  their  homes. 

Seventh  Grade. 

1.  Sewing  and  Machine  Work. 

(I)  Apron  or  bag  — straight  stitching. 

(II)  Garment  making. 

Underclothing,  children’s  pinafores  and  simple  guimpe  dresses, 
baby  clothing. 

(III)  Embroidery  and  decorative  work. 

Traveling-case  for  money  or  jewelry. 

Table  and  tray-covers. 

Opera-glass  case  of  leather,  chamois  or  silk. 

Napkins  and  doilies,  pillows  and  book-covers. 

(IV)  Repairing,  darning  and  patching  garments  of  cotton  and  flannel. 

Darning  stockinet,  linen  and  silk. 

Repairing  worn  places  in  sleeves,  under-arm  and  elbow. 
Frayed  skirts  cut  and  rebound,  lengthening  skirts. 

(V)  Personal  use. 

Stocks,  collars,  cuffs,  and  handkerchiefs  hemstitched  and 
embroidered. 

(VI)  Millinery. 

Renovating  of  old  materials,  curling  feathers,  bow  and  frame, 
making,  trimming. 

(VII)  Cutting  and  fitting. 

Learning  the  use  of  bought  patterns,  freehand  drafting,  cutting 
and  fitting  clothing. 

(VIII)  Textile  suggestions  — Visits  to  Museums. 

Embroideries,  tapestries,  laces  and  drawrn-work  of  foreign 
nations. 

Cleansing  and  dyeing. 

Primitive  examples  of  coloring,  dyeing  and  designing. 

Visits  to  stores. 

Choice  of  textiles. 

Cost  of  textiles. 

(See  note  under  VI  grade  outline.) 

Eighth  Grade. 

I.  Sewing  and  Machine  Work. 

(I)  Dressmaking. 

Summer  blouse,  graduating  dress,  shirt-waist  suit,  children’s 
dresses  and  baby-clothing. 

(II)  Embroidery  and  decorative  work. 

Stencilling  and  block-printing  in  materials  for  book  covers, 


NOTES  FOR  TEACHERS  2$ 

scarfs,  hangings  or  clothing,  lingerie  embroidery  for  hat  or 
blouse. 

(III)  Making  over,  cleaning  and  repairing,  ripping,  cleaning,  dyeing 

or  renovating,  recutting,  lengthening  and  making  over  dresses. 

(IV)  Upholstery. 

Chairs,  cushions  and  couch-covers,  repairing  mattresses  or 
upholstered  chairs. 

(V)  Cutting  and  pattern  making  — use  and  adjustment  of  patterns. 

Pattern  modelling  and  economical  cutting. 

(VI)  Millinery. 

Frame  making  and  trimming. 

(VII)  Cooperative  work. 

Cleaning  and  making  over  a dress,  upholstering  a chair, 
weaving  a rug  or  stencilling  a hanging  for  the  school. 

(VIII)  Textile  and  social  suggestions. 

The  old  textiles,  as  used  in  embroideries  and  weavings  for 
costume,  historic  costume,  simple  decorative  designs,  pres- 
ent costume  for  women  (good  and  bad  points) , factory  and 
sweat-shop  garments,  preparation  for  employment,  wages, 
conditions.  Betterment. 

(IX)  The  Home  — Organization,  improvement,  accounts,  how  to  live. 

(See  Note  under  VI  grade  outline.) 

The  Lesson  Plan. 

Every  lesson  should  be  carefully  planned  beforehand  that  the  subject  matter 
may  be  reviewed  and  the  best  method  of  teaching  may  be  decided  upon.  A 
teacher  whose  method  is  solely  that  of  dictation,  or  else  to  show  each  pupil  indi- 
vidually, will  not  accomplish  as  much  as  will  the  one  who  relies  chiefly  on  class 
discussions  combined  with  such  guiding  and  suggestions  as  may  be  necessary. 
Clearer  ideas  of  construction  and  a widening  of  interest  in  industrial  questions, 
important  for  each  child  to  know,  will  also  result  from  a carefully  prepared  dis- 
cussion. This  holds  good  even  if  the  subject  has  been  taught  many  times  before. 
No  two  classes  are  alike  and  the  best  results  are  obtained  only  when  a lesson  has 
been  planned  in  relation  to  the  characteristics  and  needs  of  any  group.  Handwork 
becomes  automatic  to  the  expert  and  the  details  of  the  way  by  which  the  end  was 
reached  fade  from  the  mind  and  often  require  an  effort  to  recall.  Therefore,  the 
teacher  should  test  beforehand  her  own  knowledge  of  the  necessary  steps  in  the 
making  of  any  article,  that  every  detail  may  be  clear.  Such  a review  will  enable 
her  to  choose  the  best  order  of  procedure  in  any  particular  instance  and  to  elimi- 
nate unnecessary  or  confusing  ideas.  Economy  of  effort  follows  the  working  out 
of  the  contingencies  beforehand,  whereas  in  the  unprepared  lesson  unexpected 
knowledge  or  ignorance  will  lead  to  waste  of  time  in  unprofitable  discussion.  The 
sewing  teacher  should  make  her  lesson  plan  as  carefully  as  does  the  teacher  of 
academic  subjects.  She  should  look  for  such  results  as  individual  initiative  on 


2 6 


A SEWING  COURSE 


the  part  of  each  pupil,  enthusiasm  in  her  subject,  and  a gradual  increase  of  intel- 
ligence in  industrial  matters.  Every  lesson,  or  series  of  lessons,  therefore,  should 
be  preceded  by  some  such  survey  as  the  following — (i)  The  most  important  aim 
to  be  accomplished,  (2)  The  complete  article  which  will  best  serve  this  purpose 
and  (3)  The  connected  thought  which  may  add  to  its  efficiency.  A conscientious 
investigation  of  these  points  will  quickly  make  it  evident  that  the  kind  of  hand- 
work which  is  best  for  any  class  depends  on  a variety  of  circumstances,  no  matter 
how  good  the  series  of  exercises,  which  a teacher  may  have  in  mind,  it  will  seldom 
prove  of  like  advantage  in  two  groups  of  equal  age,  or  even  in  the  same  grade  in 
two  successive  years.  And  again,  if  perchance  the  series  she  has  followed  before 
is  again  the  best,  the  method  of  presenting  the  subject  and  the  thought  which 
should  be  connected  with  it  will  seldom  be  the  same.  Lists  of  articles  and  gar- 
ments need  to  be  supplemented  or  changed  continually,  and  the  manner  of  decor- 
ating or  constructing  must  also  keep  in  touch  with  the  present  if  the  greatest  im- 
petus to  work  is  to  come  through  the  lesson. 

After  the  selection  of  the  aim  of  the  lesson,  and  the  handwork  best  adapted 
to  realize  it,  there  remains  the  arrangement  of  the  background  of  thought  which 
she  wishes  to  develop  in  the  class.  A knowledge  of  the  relation  of  handwork  to 
the  world’s  development  and,  again,  of  each  individual  to  the  industrial  conditions 
of  to-day  come  with  difficulty  to  the  child  if  she  must  find  them  out  for  herself. 
The  teacher  can  render  valuable  service  by  so  presenting  these  subjects  that 
interest  is  aroused  and  practical  results  are  assured  through  the  development  of 
intelligence  in  every  day  needs.  She  has  a wide  field  open  to  her  of  both  cul- 
tural and  industrial  interests,  but  must  choose  those  only  which  are  in  close  rela- 
tion to  her  aim,  which  will  give  worth-while  results,  and  can  be  dealt  with  satis- 
factorily in  brief  discussions.  The  short  period  which  most  schools  devote  to 
handwork  must  be  well  utilized,  actual  work  in  construction  should  cover  the 
greater  part  of  the  time,  leaving  ten  or  at  most  fifteen  minutes  for  all  presentation 
of  new  subjects. 

There  are  many  ways  of  giving  handwork  lessons.  The  teacher  must  each 
time  select  the  one  best  adapted  to  secure  the  results  she  wishes.  She  must  review 
in  thought  the  knowledge  already  existing  in  the  class  upon  which  she  can  lay  the 
foundation  for  her  new  lesson.  She  must  plan  a series  of  good,  leading  questions 
to  bring  out  the  constructive  ideas  she  wishes,  or  such  related  facts  as  are  directly 
needed  by  her.  Having  thus  in  thought  prepared  her  ground,  she  is  ready  to  sow 
the  new  seed,  and  must  plan  to  present  such  salient  points  as  will  give  clear  ideas 
to  the  pupils  and  by  the  aid  of  which  they  can  quickly  begin  on  the  construction 
of  the  new  article.  To  aid  in  emphasizing  the  points  she  wishes  to  make  she 
will  usually  find  it  advantageous  to  select  illustrations  in  materials,  pictures,  arti- 
cles, garments,  blackboard  or  demonstration-frame  designs  which  she  can  use  in 
the  class. 

When  a teacher  has  clearly  in  view  her  own  many-sided  aim,  she  is  ready  to 
formulate  a special  aim  for  the  pupils  which  may,  from  the  start,  gain  their  enthu- 
siasm. The  ethical,  industrial  or  social  aspects  of  her  plan  are  too  abstract  for 


NOTES  FOR  TEACHERS 


27 


them,  and  are  for  her  alone.  Children  are  interested  in  what  they  are  to  do,  and 
she  must  present  the  subject  of  the  day  to  them  in  a few  interesting  words.  She 
should  give  it,  if  possible,  in  the  form  of  a problem,  which  from  the  first  may 
arouse  their  curiosity  and  set  them  to  thinking.  Even  a dull  subject  may  be  so 
stated  that  it  appeals  to  the  interest  of  a class,  and  they  are  eager  to  try  it. 

The  necessary  materials  and  tools  must  also  be  decided  upon  and  made  ready 
before  the  class  hour.  As  the  teacher  reviews  her  subject  matter  and  surveys 
such  conditions  as  the  needs  of  the  quick,  the  backward,  the  new  or  the  returning 
children  she  can  make  mental  notes  of  her  equipment  needs. 

Following  each  lesson  there  must  be  a review  of  results  that  the  next  one  may 
emphasize  the  good  points  or  overcome  the  poor  ones. 

As  an  illustration  of  how  a simple  sewing  lesson  may  be  planned  in  accord- 
ance with  the  above  suggestions  the  following  outline  and  running  comment  are 
added  — 

Lesson  Subject  — Making  of  a dust-cloth. 

Grade  V (fifth  school  year) , 

Ages  9-10.  Number  30. 

Ability.  — Class  already  know  fairly  well  such  stitches  as  Running,  Hem- 
ming, Cross-stitch  and  Blanket-stitch. 

Environment . — Poor  section  of  large  city  where  lessons  in  neatness  and 
cleanliness  are  greatly  needed. 

Outside  Preparation. 

Materials  — Cheese-cloth  and  other  soft  cotton  cloth,  white  or  colored,  suf- 
ficient for  the  work.  Some  of  it  cut  into  y2  -yard  squares  and  the 
rest  uncut. 

Cotton  thread — white  and  colored. 

Zephyr  (single)  — in  colors. 

Tools. — All  necessary  for  cutting,  measuring  and  sewing. 

Illustrations . — Examples  of  several  materials  which  may  be  used  for  dust- 
cloths,  such  as  cheese-cloth,  unbleached  muslin,  and  dark  unfinished  cotton 
cloth.  Dusters  finished  in  various  ways.  Blackboard  or  demonstration 
frame  designs  showing  dust-cloths  finished  with  the  stitches  already 
known  to  the  class. 

Note.  — The  pupils  are  supposed  to  have  work-boxes  or  bags  containing 
their  thimbles,  needles,  needle-cases,  pin-cushions  and,  if  possible, scissors. 

The  Teacher’s  own  aims  : 

1 . The  cutting,  folding  and  making  of  a dust-cloth. 

2.  The  reason  a well-finished  cloth  is  better  than  one  with  ragged  edges. 

3.  The  best  materials  for  the  purpose. 

4.  Various  ways  a dust-cloth  may  be  finished. 

5.  Tne  danger  to  health  in  dust. 

6.  The  way  to  dust. 

7.  The  care  of  the  dust-cloth. 


28 


A SEWING  COURSE 


8.  Disciplinary  training. 

(1)  Careful  listening  and  thinking. 

(2)  Ready,  accurate  replies. 

(3)  Neat  work. 

(4)  Responsible  action  showing  the  promise  of  executive  ability. 

(5)  No  waste  of  time  or  motion. 

(6)  Increasing  satisfaction  at  well-done  work. 

Preparing  the  Class. 

A few  suggestive  questions  — the  class  response  will  bring  out  further 

questions. 

How  many  have  used  a dust  cloth  ? 

Have  you  cloths  like  this  at  home?  (Showing  various  kinds.) 

Why  do  we  have  to  dust? 

What  is  the  best  way  to  do  it  that  we  may  leave  the  room  clean  ? 

What  need  is  there  for  care  in  the  making  and  keeping  of  a dust-cloth? 

What  materials  are  good  for  them  and  why  ? 

The  Statement  of  the  Aim  to  the  Class. 

How  many  know  the  way  they  would  like  to  make  a dust-cloth  that  will 
work  well ; look  well ; wear  well  and  wash  well  ? 

You  already  know  how  to  make  the  Running,  Hemming,  Cross-stitch  and 
Blanket-stitch.  Each  girl  may  choose  one  of  these  materials  for  the  cloth  and 
select  one  of  the  stitches  she  knows  to  finish  the  edge.  Each  must  give  her  reasons 
for  the  choice  to  the  rest  of  the  class. 

The  first  ones  who  decide  and  have  good  reasons  may  help  me  with  the 
cutting,  which  is  not  yet  complete. 

The  Lesson. 

The  Selection . — What  material  will  each  select  and  why?  (Takes  note  of 
the  various  decisions.) 

The  Cutting . How  to  Measure. — How  large  shall  we  cut  the  cloth?  How 
can  we  be  sure  the  edge  is  straight  so  that  we  can  finish  it  more  easily  and  neatly  ? 

Accurate  Folding.  Holding  in  the  Ravellings. — How  shall  we  fold  in  or 
cover  the  raw  edges?  What  stitches  will  best  hold  the  edge  from  ravelling? 

Selection  of  Stitches.  How  to  make  the  ones  Chosen. — Class  selects  and 
tells  reason  for  choice  and  how  to  proceed  with  the  work.  The  teacher  brings 
the  children  who  decide  first  and  wisely  to  the  cutting  table  (a  desk  will  be  sat- 
isfactory), and  puts  them  to  work  to  complete  the  cutting. 

Giving  out  the  Necessary  Materials . — Will  the  cutters  when  they  have 
completed  that  work  help  to  give  out  the  cloth,  thread  and  yarn  ? 

The  Sewing. 

The  teacher  answers  questions,  or  walks  about  the  class  noting  difficulties  or 
giving  advice. 

The  Closing  of  the  Lesson. 

How  many  have  completed  the  dust  cloth? 


NOTES  FOR  TEACHERS 


29 


How  many  feel  their  work  is  strong  and  good? 

What  material  have  you  at  home  which  can  be  used  for  a dust-cloth  ? 

If  you  have  no  material  at  home  what  will  you  buy?  How  much  should  it 
cost  ? 

How  many  could  make  one  at  home? 

How  will  you  go  to  work? 

Will  each  one  lay  her  work  on  her  desk  and  will  all  walk  quietly  about 
looking  at  each  dust-cloth  and  judging  of  its  worth? 

Questions  on  results. 

Careful  putting  away  of  the  work. 

The  Cost  of  Maintenance. 

The  cost  of  introduction  and  the  yearly  maintenance  of  a course  of  sewing 
varies  greatly  in  the  different  cities  of  the  United  States.  The  tools  and  the  ma- 
terials can  be  brought  from  home  by  the  children  and  the  subject  can  be  taught 
by  the  regular  grade  teachers,  if  it  is  desirable  to  eliminate  all  expense.  There  are 
many  objections,  however,  to  this  method,  as  the  materials  are  apt  to  be  unsuit- 
able and  the  result  of  the  teaching  unsatisfactory.  The  subject  can  be  made  ex- 
tremely valuable,  even  where  the  children  provide  their  own  equipment,  if  the 
School  Board  can  afford  a good  supervisor  of  sewing.  Such  a supervisor  can  train 
the  grade  teachers  to  conduct  the  work ; study  the  needs  of  the  families  of  the  chil- 
dren ; decide  on  course  of  sewing  which  will  include  the  very  articles  desired  in 
the  homes,  and  send  for  samples  of  material  from  which  the  classes  can  choose, 
having  computed  the  cost.  The  children  can  thus  be  taught  to  shop  wisely,  as 
as  well  as  to  work  skillfully.  Even  the  poorest  families  are  willing  to  spend 
money  on  needed  articles.  The  salary  of  a good  supervisor  of  sewing  ranges 
from  $1,000  to  $3,000  per  annum  (eight  to  ten  months),  but  is  a wise  expense. 
In  those  cities  where  materials  are  provided  by  the  Board  of  Education  the  cost 
of  maintaining  courses  of  study  usually  ranges  from  .01  to  .15  per  capita  per 
annum.  The  first  amount  given  covers  only  the  price  of  needles  and  practice 
cloth ; the  last  amount,  if  the  school  system  is  large  and  the  money  econom- 
ically expended,  provides  for  much  application  in  small  articles  made  from  inex- 
pensive material.  If  full-sized  garments  are  to  be  made  it  is  usual  for  each  child 
to  supply  her  own  material. 

The  Equipment. 

The  necessary  equipment  in  tools  must  be  provided,  either  by  the  School 
Board  or  by  the  pupils.  Each  child  must  have  her  own  thimble  and  a pair  of 
scissors.  She  can  make  herself  a pin-cushion  and  a needle-case.  Tape  measures, 
emeries,  wax,  stillettos,  and  such  scissors  as  buttonhole,  very  fine  cutting,  or  long 
shears,  should  also  be  on  hand,  but  need  not  be  given  to  every  pupil.  If  the 
appropriation  is  small,  the  teacher  can  carry  the  tools  in  her  supply  box  from 
grade  to  grade,  thus  making  set  serve  for  all  classes.  Some  means  of  keep- 
ing the  work  should  be  provi<.  xl,  substantial  boxes  are  preferable  to  bags  or  en- 
velopes, as  the  work  and  tools  can  be  kept  with  greater  neatness. 


30 


A SEWING  COURSE 


A good  inexpensive  equipment  in  tools  and  necessary  articles  for  a class  of 
20  children  can  be  bought  at  retail  price  for  $9.00.  This  would  purchase 


20  boxes  (cloth-covered)  at  7c $1.40 

1  supply  box 35 

24  prs.  small  school  scissors  at  i2^c 3.00 

6 prs.  good  cutting  scissors  at  50c 3.00 

1 pr.  buttonhole  scissors 35 

y2  doz.  tape  measures 20 

y2  doz.  emeries 20 

2 doz.  thimbles 50 

$9.00 


The  Sewing  Laboratory. 

In  the  early  grades  of  the  school  the  sewing  is  usually  conducted  in  the 
regular  classrooms.  A special  room  for  the  later  grades  is  desirable,  however, 
for  cutting,  fitting  and  work  on  large  garments  can  be  more  readily  undertaken. 
Such  a room  should  be  light,  well-ventilated  and  cheery.  The  furniture  can  be 
very  simple,  but  should  be  suited  to  its  purpose.  It  should  contain  work-tables ; 
a cutting  and  ironing  table ; comfortable  low  broad-seated  chairs  for  the  hand- 
work ; stools  for  use  at  the  cutting  table  ; cabinets  for  holding  stock,  or  for  finished 
or  half  finished  work ; cases  for  the  exhibition  of  illustrative  material  and  for 
finished  garments;  sewing  machines;  a blackboard;  a gas  stove,  and  several 
pressing  irons.  It  is  well  also  to  add  other  articles  illustrative  of  household  art, 
such  as  old  spinning  wheels,  reels  or  winders,  processes  of  manufacture,  or  repre- 
sentative  handwork  of  various  kinds. 

A useful  sewing  laboratory  can  be  furnished  at  very  small  expense.  To 
equip  it  for  twenty  pupils  simply,  but  not  handsomely,  however,  will  cost  at  least 
$285.00.  The  following  list  will  show  the  necessary  expenditures  for  an  adequate 
equipment.  Extra  exhibits  and  the  cases  for  them  will  add  to  the  cost,  but  they 
can  be  provided  from  time  to  time  as  the  means  will  allow. 


Teacher’s  desk $ 9.00 

Revolving  chair 2.50 

Wooden  chairs — 2 doz 24.00 

6 tables  for  work  — long  kitchen 15 .00 

4 sewing  machines 120.00 

Wardrobe  35*°° 

Locker 25.00 

6 skirt  forms 1 2.00 

6 waist  forms 3* 00 

Stove  — oil  or  gas 2.50 

3  flat  irons 1.00 

Poles  and  curtain  — for  fitting  room 15*00 

Long  looking  glass 20.00 

$285.00 


NOTES  FOR  TEACHERS 


3* 


The  Annual  Exhibit  and  Supplementary  Work. 

Annual  exhibits  are  held  in  many  of  the  public  and  private  schools.  These 
serve  many  purposes  such  as  (i)  the  encouraging  of  the  pupils,  (2)  the  interest- 
ing of  the  parents,  and  (3)  the  training  of  the  public.  Handwork  is  usually  a 
great  feature  of  these  occasions.  It  has  become  customary,  therefore,  to  retain 
all  of  the  completed  work  of  the  classes  until  the  end  of  the  school  year.  This 
has  an  unfortunate  side  for  it  eliminates  effectually  any  opportunity  for  immediate 
utilization  of  the  articles  made.  It  is  useless  to  plan  each  article  for  some  direct 
service  to  the  home,  or  to  the  school,  if  the  purpose  cannot  be  carried  out  and  the 
result  discussed  when  the  interest  is  at  its  height.  Each  school  must  consider  for 
itself  the  best  way  to  meet  this  difficulty.  The  following  plans  have  been  carried 
out  in  different  cities.  (1)  Some  students  in  each  class  will  sew  more  rapidly 
than  others  and  supplementary  work  mnst  be  provided  for  them.  It  is  well  to 
select,  for  this  purpose,  articles  of  especial  interest  as  they  serve  as  an  impetus  to 
the  slower  members  of  the  class.  The  quicker  ones  can  work  for  the  exhibit  by 
repeating  in  a more  interesting  form  the  exercises  just  completed  or  by  being 
allowed  to  plan  and  to  make  some  attractive  new  articles.  (2)  After  a series  of 
articles  have  been  made  in  a class  a vote  can  be  taken  by  the  members  as  to  which 
ones  will  be  retained  to  represent  them  at  the  exhibit.  These  few  can  be  kept  to 
be  returned  to  the  makers  after  the  exhibit,  or  material  can  be  given  to  each 
worker  to  make  a similar  article  at  home.  (3)  Purchasing  from  the  children  the 
work  desired  for  the  exhibit. 

Warp  and  Woof. 

The  threads  running  the  entire  length  of  the  material  are  called  the  warp 
threads.  The  woof,  weft  or  filling  threads  are  those  which  cross  and  interlace 
with  the  warp  and  form  the  selvage  on  each  side  of  the  goods.  The  warp  threads 
are  each  as  long  as  the  cloth  will  be  and  they  are  put  first  in  the  loom.  The  woof 
thread  is  thrown  back  and  forth  across  the  width  of  the  warp  threads  by  a shuttle 
and  is  one  continuous  thread.  The  warp  threads  are  usually  stronger  than  the 
woof  threads  as  they  have  to  bear  a heavier  strain.  This  strain  is  apt  to  make 
them  straighter  than  the  cross  threads,  which  fact  can  be  clearly  seen  in  the  ravel- 
lings  of  some  kinds  of  cloth.  Garments  are  usually  cut  along  the  length  or  warp 
way  of  the  cloth  as  they  wear  better  than  when  cut  across  the  goods.  When 
material  is  torn  across  the  warp  threads  it  gives  out  a shrill  sound  but  a dull  sound 
accompanies  the  tearing  of  the  woof  threads.  It  is  necessary  sometimes  to  know 
which  is  th.2  warp  way  of  a piece  of  cloth  from  which  the  selvage  has  been 
removed.  The  eye  can  often  tell  one  from  the  other  by  the  softer,  less  wiry,  and 
less  even  appearance  of  the  woof.  The  way  the  threads  break  and  the  sound  they 
give  also  indicate  the  difference. 

Sewing  for  Boys. 

In  the  first  three  or  four  years  of  the  school  it  is  well  for  the  boys  and  the 
girls  to  be  taught  the  same  kinds  of  handwork.  The  selection  should  be  made 
from  many  fields  and  sewing  (coarse)  should  be  included  among  the  crafts  chosen. 


32 


A SEWING  COURSE 


Experience  has  proved  that  boys  are  greatly  interested  in  sewing  when  it  is  con- 
nected with  their  pursuits.  Such  constructive  work  as  bags  of  coarse  canvas  for 
shoes  or  books,  ball  covers,  sails,  flags  and  badges,  moccasins,  sweater  mending, 
sewing  on  buttons  and  simple  repairing  are  illustrations  of  interests  which  con- 
cern both  boys  and  girls.  As  sewing  is  one  of  the  most  important  of  the  indus- 
tries it  is  well  for  boys  to  gain  some  practical  experience  of  its  difficulties  as  well 
as  of  its  usefulness.  They  will  thus  be  better  prepared  to  appreciate  the  condi- 
tions of  labor  in  occupations  employing  the  great  mass  of  wage-earning  women 
as  well  as  large  numbers  of  men.  Sewing,  itself,  will  also  prove  useful  to  them 
now  and  later  and  the  class  of  neat  adjustment  which  it  requires  has  proved  ad- 
vantageous as  a preliminary  training  of  the  hand  for  many  of  the  skilled  occupa- 
tions of  men. 

Illustrations  on  the  Board  or  the  Frame. 

The  blackboard  may  be  of  much  assistance  in  the  presentation  of  a lesson. 
An  illustration  of  the  way  a stitch  is  made,  or  several  designs  for  an  article  may 
be  drawn  by  the  teacher  before  or  during  the  class  period.  The  illustrations  in 
the  Sewing  Course  are  for  suggestions  for  board  work.  Any  teacher  can  train 
herself  to  do  this  simple  drawing,  even  if  she  has  had  no  art  training,  but  a 
trained  hand  can  make  such  illustrations  a powerful  ally.  The  demonstration 
frame  offers  another  means  of  showing  the  way  a stitch  is  made.  It  is  a large 
embroidery  frame,  covered  with  coarse  canvas  and  raised  on  a standard  so  the 
class  can  see  it.  The  teacher  makes  the  stitch  on  the  canvas  in  large  size  with 
colored  wool  as  she  describes  it.  Such  frames  can  be  made  easily  by  any  car- 
penter or  by  boys  who  are  taking  manual  training. 

Different  Ways  of  Making  Stitches. 

Opinions  differ  as  to  the  best  way  of  making  many  of  the  stitches.  The 
teacher  should  know  all  of  these  methods,  but  it  is  not  necessary  for  her  to  con- 
fuse with  such  details  the  minds  of  children  who  are  learning  to  sew.  In  giving 
a new  lesson,  she  should  select  the  form  of  stitch  which  she  prefers  and  teach 
that.  If  it  happens  that  any  one  of  the  class  has  already  learned  to  make  the 
stitch  in  a different,  but  satisfactory,  manner,  it  is  better  for  her  to  continue  to 
work  in  the  way  to  which  she  is  accustomed.  When  older  students  are  prepar- 
ing for  teaching,  or  for  trade  work,  they  should  consider  the  various  methods  of 
procedure,  as  they  may  be  called  upon  to  know  them  in  their  chosen  vocation. 
Left-handed  children,  unless  corrected  very  early,  would  better  continue  to  use 
their  left  hands,  unless  the  teacher  desires  to  make  them  ambidextrous. 

Neat  Finish  and  Rapid  Work. 

Beginners  should  work  slowly  at  first  but  dawdling  should  never  be  allowed. 
The  teacher  must  herself  discover  the  best  way  to  keep  each  class  sewing  indus- 
triously. In  some  groups  the  setting  of  a time  limit  for  the  completion  of  articles 
•is  an  incentive,  while  in  others  the  very  impulse  • to  rush- through  is  followed  by 
slackness  and  poor  results.  The  finish  of  each  exercise-must  be  as  beautiful  as  the 


NOTES  FOR  TEACHERS 


33 


child  should  or  can  do.  Frayed  edges  and  unfinished  interiors  are  not  only  ugly 
but  indicative  of  a lack  of  care  in  the  worker.  The  most  simple  article  may  have 
the  beauty  of  neatness,  and  even  a child  can  be  trained  to  see  it.  A class  should 
learn  to  work  well  without  any  waste  of  time.  Rapidity  is  desirable  if  the  result 
can  be  satisfactory. 

The  Tape  Measure. 

The  use  of  a tape  measure  or  a rule  should  begin  early.  Very  young  children 
can  be  taught  to  make  their  own  measures  by  marking  off  the  divisions  on  strips 
of  paper  or  bristol  board.  They  can  keep  the  accurate  ones  in  their  workboxes 
for  use  later.  Older  girls  should  gradually  learn  to  depend  upon  themselves  when 
small  dimensions  are  required.  This  is  especially  important  when  such  students 
expect  to  enter  any  of  the  trades  requiring  careful  measurements.  Such  accurate 
judgment  leads  to  economy  of  time  which  has  frequently  a money  value. 

Length  of  Thread. 

Children  usually  take  too  long  a thread  in  sewing.  They  must  be  taught  the 
right  length,  which  is  about  one  half  or  three  quarters  of  a yard,  though  in  bast- 
ing a longer  thread  is  advisable.  The  usual  directions  are  to  measure  the  thread 
from  shoulder  to  shoulder,  or  across  the  body  from  waist  line  to  shoulder,  or  from 
the  end  of  the  finger  to  the  elbow.  The  thread  should  never  be  bitten  off,  for  it 
harms  the  enamel  of  the  teeth.  Fine  cotton  thread  may  be  broken,  but  coarse 
thread  would  better  be  cut.  It  is  well  therefore  for  every  child  to  have  her  own 
scissors  in  her  workbox. 

Fastening  the  Thread. 

As  children  seldom  make  knots  neatly,  they  should  be  taught  how  to  fasten 
the  thread  strongly  without  them.  The  knot,  however,  should  be  practised,  for 
it  is  necessary  in  basting,  overcasting  and  gathering,  and  useful  always.  A small, 
well-made  knot,  concealed  in  the  material  is  permissible.  Skilled  workers  usually 
prefer  to  use  them  as  it  saves  time. 

Position  in  Sewing. 

The  position  for  sewing  is  an  upright  one,  bending  the  body  forward  from 
the  waist,  if  necessary,  but  never  hanging  the  head  downward  to  the  work. 
Physical  injury  results  from  such  an  attitude,  and  it  is  also  impossible  for  a pupil 
tc  be  as  attentive  and  alert  when  sitting  in  a slouching  position. 

Cleanliness. 

Clean  hands  and  clothing  should  be  obligatory  in  sewing  classes,  for  good 
work  may  be  spoiled  by  lack  of  neatness.  The  teacher  of  sewing  should  take 
occasion  to  discuss  hygienic  living,  and  should  train  her  pupils  to  realize  the  direct 
moral  effect  of  care  and  cleanliness  of  person  and  product. 


: 

. 

. 

. 

• 

• 

’ 

. 

i 

, 

■ 

1 . . 

. 


1 

IS 


CARDBOARD  SEWING 


35 


No.  1.  CARDBOARD  SEWING. 

MATERIALS  FOR  PRACTICE. 

Cards.  Coarse  Wool  Tapestry  Needle. 

Cotton  or  Linen. 

Application — Needlecase  or  blotter. 

Designs  pricked  on  cards  and  followed  by  the  needle  are  often  used  for 
the  first  steps  in  sewing.  In  this  way  a child  may  begin  to  use  the  tools  and 
gain  control  of  her  muscles.  When  they  are  utilized,  scope  should  be  given 
for  simple  creative  thought  in  the  decoration  of  the  work  and  in  the  planning 
for  its  use.  This  may  be  the  foundation  for  the  designing  of  simple  articles 
for  dress  or  for  household  use,  and  also  for  cultivating  taste  in  every-day  life. 
In  the  kindergarten  this  class  of  sewing  is  frequently  seen.  In  the  first 
primary  grade  the  children  are  generally  ready  for  a step  beyond,  but  card- 
board may  have  its  use  in  recalling  the  work  of  the  previous  year.  In  the 
kindergarten  the  threading  and  knotting  are  usually  done  by  the  teacher,  but 
in  the  primary  grades  the  children  can  gradually  learn  to  rely  upon  them- 
selves. 

Cards  in  varying  sizes  and  colors  are  on  the  market  already  pricked, 
or  the  teacher  can  prepare  her  own  cards.  Pricking  pads  and  needles  can 
be  purchased.  Any  simple  design  made  by  the  teacher  or  the  children  may 
be  used.  Running,  stitching  and  cross-stitch  are  good  ones  on  the  cards.  Knots 
must  be  used  to  hold  the  thread.  The  teacher  may  have  to  fasten  off,  as  this 
is  often  too  difficult  for  children. 

Practice. — Take  two  cards  with  a simple  design  on  each;  carry  out 
these  designs  with  one  of  the  simple  stitches.  Fasten  off  by  tying  a knot 
in  the  wool  and  letting  it  slip  up  to  the  hole;  or  else  put  the  needle  through 
the  last  stitch  on  the  wrong  side  in  such  a way  that  it  will  tie  the  wool  into 
a knot. 

Suggestion. — Very  pretty  needle-books  can  be  made  by  enclosing  soft 
flannel  leaves  between  the  cards.  The  leaves  may  be  pinked  on 
the  edges  or  finished  with  the  blanket-stitch.  Blotters,  bookmarkers,  book- 
covers  and  penwipers  may  be  made  in  a similar  way.  The  teacher  should 
encourage  the  making  of  original  designs  and  plans  for  attractive  and  useful 
articles.  Children  are  full  of  devices  and  only  need  encouragement  and 
direction  to  express  themselves  adequately. 


1 


■ 

i 


' 


■ 


CANVAS  WORK 


37 


No.  2.  CANVAS  WORK. 

MATERIALS  FOR  PRACTICE. 

Burlap,  Java,  Colored  Zephyr,  Tapestry  Needle, 

or  some  similar  canvas.  or  Wool. 

Application. — Mats,  rugs,  bookcovers,  bags  or  needle-books. 

Soft,  coarse  canvas  is  an  excellent  medium  on  which  to  teach  young  chil- 
dren how  to  use  the  needle,  as  it  does  not  require  too  careful  work  for  them. 
The  form  of  the  stitch  can  be  studied,  decorative  effects  can  be  easily  secured, 
and  very  attractive,  useful  articles  can  be  made  from  it. 

Suggestion. — In  the  first  grade  burlap  canvas  may  be  used  as  the  first 
textile.  Numerous  articles  may  be  made  out  of  it.  Stitches  may  be  used  to 
decorate  it  attractively;  if  it  is  to  be  fringed,  the  form  of  the  overcasting- 
stitch  is  good ; it  may  be  worked  on  the  burlap  and  the  edge  fringed  afterward. 
The  blanket-stitch  may  be  used  where  the  edge  is  to  be  kept  from  raveling. 
Several  rows  of  running-stitches  and  cross-stitches  make  an  attractive  border, 
or  other  stitches  may  be  used  for  this  purpose.  The  stitches  should  always 
be  coarse.  In  canvas  where  the  holes,  though  distinct,  are  near  together  a 
number  of  holes  should  be  skipped.  Soft  canvas  is  better  than  tightly  twisted 
stiff  canvas.  Java  canvas,  in  some  soft  color,  may  be  used  late  in  the  first 
year  or  in  the  second  year;  needlebooks,  penwipers,  portieres,  tablecovers  or 
postal-card  cases,  may  all  call  forth  ideas  worth  carrying  out.  Suitability  of 
color,  decoration  and  material  to  the  object  in  hand  should  be  a prominent 
feature  in  the  lessons. 

Class  teaching  is  an  advantage,  for  all  may  thus  have  a feeling  of  common 
purpose  and  be  aided  by  the  free  expression  of  opinion;  even  though  the 
general  class  exercise  is  the  same,  individuality  may  be  constantly  appealed 
to  in  carrying  out  designs  or  in  the  selection  of  the  kind  of  article  which  will 
be  made  of  the  canvas. 


WEAVING 


No.  3.  WEAVING. 


MATERIALS  FOR  PRACTICE. 


Cards  (two),  4x2%  Inches.  Double  Zephyr,  Plat  Bodkin,  or 

or  Wool.  coarse  Tapestry  Needle. 


Application.— (1)  Cards  ready  for  weaving  can  be  purchased  or  the 
classes  can  prepare  their  own  cards  in  connection  with  their  number  work. 
Rugs,  bags,  hoods,  muffs  and  sweaters  can  all  be  woven  on  cards  by  slight 
changes  in  the  shape  of  the  cards.  (2)  Simple  looms  of  wood  can  be  made 
by  any  of  the  early  grades.  Portieres,  rugs,  hammocks,  covers  and  mats  can 
be  made. 

Use. — Weaving  is  adapted  to  the  ability  of  even  very  young  children. 
They  are  interested  in  the  process  and  also  in  its  connection  with  the  manu- 
facture of  their  clothing.  The  method  of  darning  worn  material  can  be 
taught  through  weaving. 

This  subject  may  be  made  valuable  to  various  grades  of  children,  and  if 
rightly  presented  will  serve  to  increase  thought  as  well  as  skill.  The  teacher 
should  understand  the  principles  and  simple  terms  of  weaving  that  she  may 
develop  clear  ideas  of  processes  of  construction  and  widen  the  interests  of 
her  class. 

Practice. — First  Card.  Prick  at  both  ends  of  one  of  the  cards  ten  or  a 
dozen  holes  which  shall  be  directly  opposite  one  another.  Thread  the  needle 
with  wool  and  make  a knot  in  the  end  of  it.  Bring  the  bodkin  or  needle 
through  the  card  in  the  first  hole  at  one  end,  and  then  take  a stitch  across 
the  card  to  the  hole  opposite.  This  will  make  a long  stitch  across  the  face 
of  the  card.  Take  a short  stitch  on  the  back  into  the  next  hole,  and  again 
across  the  card  in  a long  stitch;  continue  this  until  all  the  holes  are  filled, 
and  then  fasten  off  the  thread.  These  long  stitches  represent  warp  threads, 
or  the  threads  which  are  placed  first  in  the  loom.  The  woof,  or  filling,  is 
now  to  be  put  in.  Begin  at  one  end,  going  under  and  over  the  warp  threads, 
until  the  warp  thread  on  the  other  side  is  reached ; return  by  going  over  the 
last  warp  thread,  and  forming  the  selvage,  and  alternate  the  stitch  across 
to  the  place  where  the  woof  began,  continue  going  back  and  forth,  pushing 
the  threads  close  together  to  make  a solid  piece  of  cloth.  Be  careful  to  keep 
the  cloth  the  same  width. 


Pig.  2 — Pattern  Weaving. 


40 


A SEWING  COURSE 


Second  Card.  Prepare  the  second  card  the  same  way  as  the  first,  but 
increase  the  number  of  holes.  Put  in  the  warp  threads  as  in  the  first  model; 
the  woof  or  filling  should  now  be  inserted  in  such  a way  over  and  under  the 
warp  threads  that  a pattern  may  be  formed.  See  Figures  1 and  2.  A simple 
twill  may  be  used.  Pattern  is  the  result  of  the  way  the  woof  threads  inter- 
sect the  warp.  Simple  alternation  does  not  make  a pattern.  Let  each  teacher 
make  a design  of  her  own ; she  can  practice  first,  if  she  wishes,  with  the  cut 
strips  used  in  kindergarten  weaving.  When  she  makes  a design  she  likes 
she  can  use  it  on  the  second  card.  The  warp  threads  can  be  a different  color 
from  the  woof.  Several  colors  can  be  used.  She  can  mount  the  two  woven 
pieces  on  the  bristol  board  pages  with  or  without  the  cards. 

Suggestion. — Primitive  races  began  some  form  of  weaving  early  in  their 
development.  Such  elementary  hand  work  can  be  adapted  readily  to  chil- 
dren and  the  product  is  interesting  and  useful.  The  looms  should  be  simple 
in  construction  and  very  plain  weaving  with  coarse  threads  should  be  attempt- 
ed at  first.  Soft  loosely  spun  threads,  such  as  rug  yarn,  roving,  which  can 
be  bought  from  spinning  mills,  or  lamp-wick  make  good  woof  threads.  Chil- 
dren who  have  woven  strips  of  paper  in  the  kindergarten  will  easily  under- 
stand how  pattern  is  made.  The  teacher  should  discuss  with  her  classes  the 
making  of  different  kinds  of  cloth.  Pieces  of  loosely  woven  material  or  can- 
vas should  be  ravelled  out  by  the  children  that  each  may  see  the  way  the 
threads  cross  each  other.  Examples  of  full  width  cloth  should  be  at  hand 
to  illustrate  various  patterns  and  the  selvage.  Each  child  should  note  the 
warp  threads,  running  lengthwise  of  the  goods;  the  cross  or  woof  threads, 
which  bind  the  warp  threads  together  and  which  in  turning  back  form  the 
selvage  at  the  side.  Such  simple  terms  in  cloth  construction  as  warp  beam, 
cloth  beam,  shuttle,  harness,  heald,  heddle,  batten,  and  treadle  should  be  used 
from  the  first.  Knitting,  as  used  in  the  manufacture  of  sweaters  and  stock- 
ings, should  be  contrasted  with  weaving.  Little  knitters  can  be  made  of 
large  spools  with  pins  or  thin  nails  surrounding  the  hole  at  one  end.  Toys 
like  this  can  be  purchased  by  any  teacher  if  she  has  never  seen  one  of  these 
devices  and  the  children  can  be  taught  to  make  their  own.  It  is  a customary 
thing  for  children  to  make  such  knitters  and  to  use  the  product  for  horse- 
reins  or  for  mats.  The  knitting  is  done  by  passing  zephyr  or  yarn  through 
the  spool  to  the  end  containing  the  pins,  and  then  by  winding  it  twice  alter- 
nately around  each  pin  and  again  once  around  outside  of  all  of  the  pins.  The 
material  is  made  by  taking  the  loop  on  each  pin  and  slipping  it  over  the  head 
in  regular  succession  and  by  passing  the  worsted  around  the  outside  of  the 
pins  whenever  a complete  circuit  is  made.  Lessons  in  weaving  and  knitting 
should  be  always  connected  with  the  manufacture  and  darning  of  clothing. 
Weaving  may  be  practiced  first  on  cards:  simple  or  elaborate  patterns  can 
be  made  as  desired.  Each  child  should,  however,  try  to  make  a pattern  of 
her  own.  For  later  practice  an  old  slate  frame,  from  which  the  slate  has 


WEAVING 


41 


been  broken,  may  serve  for  tlie  loom  by  putting  small  brads  or  nails  along 
either  end,  stretching  the  warp  threads  back  and  forth  on  these  and  by  weav- 
ing in  the  woof  threads  across.  The  first  or  second  grade  pupils  can  readily 
make  for  themselves  wooden  looms  like  the  frames.  A sample  of  each  of  the 
various  card  looms,  on  which  such  articles  as  muffs,  hoods,  sweaters  and  bags 
are  made,  can  be  purchased  by  the  teacher.  Each  child  can  be  taught  to 
make  similar  looms  from  these  simple  cards.  Third  and  fourth  grade  chil- 
dren often  find  great  interest  in  making  looms  and  in  weaving  the  articles. 
More  elaborate  looms  for  plain  cloth  can  be  made  in  an  oblong  box.  A couple 
of  sticks  or  spools  are  placed  at  each  end,  to  represent  the  beams  on  which 
the  warp  thread  is  fastened.  A heddle  can  be  made  of  a stiff  visiting  card 
with  a series  of  alternate  slits  and  holes  cut  in  it  for  the  warp  threads  to 
pass  through  before  they  are  fastened  to  the  cloth  beam  and  after  they  have 
been  attached  to  the  warp  beam. 

The  heddle  has  as 
many  slits  and  holes 
as  the  cloth  is  to  have 
warp  threads.  After 
the  threads  are  fast- 
ened to  the  warp 
beam  every  other  one 
is  passed  through  a 
slit  and  the  alternate 
ones  are  threaded 
through  the  holes.  By 
pressing  down  or 
drawing  up  the  hed- 
dle the  sheds  are 
made  through  which 
the  woof  threads  are 
passed.  After  each 
woof  thread  is  insert- 
ed the  threads  should 
be  battened  or  pushed  together  to  make  a solid,  even  cloth.  This  can  be  done 
with  the  heddle  or  with  a comb  or  with  a coarse  needle.  A shuttle  can  be 
made  of  a stick  or  a piece  of  card  on  which  the  woof  thread  can  be  wound. 
It  will  pass  between  the  separated  warp  threads.  Small  looms  for  school  can 
be  purchased. 

The  Todd  Hand  Loom — $ .30 — $1.00 — Minneapolis,  Minnesota. 

The  School  Loom — $1.50 — Domestic  Art  Department,  Teachers  College, 
New  York  City. 

The  Hooper  Colonial  Loom — $ .75 — Milton  Bradley  Co.,  New  York  City. 

These  looms  are  useful  for  demonstrating  the  subject  to  a class.  If  a 
teacher  cannot  make  her  own,  it  is  well  for  her  to  purchase  one  of  those 
already  on  the  market  or  to  have  some  one  who  can  work  in  wood  make  one 
for  her.  It  is  always  better  for  the  classes  to  make  their  own  either  as  a 
co-operative  or  individual  exercise. 


Fig.  3 — A Cardboard  Heddle. 


42 


A SEWING  COURSE 


No.  4.  FOLDING  A HEM. 

MATERIALS  FOR  PRACTICE. 

Crinoline  or  Paper,  5x5  Inches  (2  pieces). 

Application. — Duster  or  Washcloth. 

Rule. — A hem  is  made  by  folding  a piece  of  material  twice  over.  The 
depth  of  the  first  turn  depends  on  the  material ; it  should  be  just  deep  enough 
to  secure  it  from  fraying.  In  fine  muslin  it  may  be  less  than  % of  an  inch; 
the  second  turn  is  regulated  by  the  requirements  of  the  garment  for  which  it 
is  prepared.  In  order  to  turn  a deep  hem  accurately,  a gauge  or  a card 
notched  at  the  proper  depth  may  be  used.  A fold  is  held  in  place  as  it  is 
turned  by  creasing  it  with  the  finger  and  thumb,  or  if  this  stretches  the  cloth, 
it  may  be  folded  between  the  fingers  and  pinched.  The  material  should  be 
held  up  in  the  hands  as  the  folding  and  creasing  are  done,  and  not  laid  on 
a table  or  desk.  In  a narrow  hem  the  second  fold  just  covers  the  first.  Square 
corners  should  fold  one  over  the  other.  In  a wider  hem  the  corners  may  either 
be  squared  or  mitered.  If  the  former,  and  the  material  is  thick,  an  oblong  of 
cloth  should  be  cut  out,  as  in  preparing  for  Miter  No.  1.  If  the  latter,  see 
Miters  No.  1 and  No.  2 below. 

Practice. — Take  two  pieces  of  crinoline  or  paper,  fold  a narrow  hem 
on  each  side  of  the  four  sides  of  one  piece,  and  a half  inch  hem  on  each  of 
the  four  sides  of  the  other  piece.  Turn  two  opposite  sides  before  folding 
the  other  sides  over  them.  This  will  make  regularity  at  the  corners.  Miter 
the  two  diagonal  corners  of  the  wide  hem,  using  Miter  No.  1 for  one  corner, 
and  Miter  No.  2 for  the  other.  Cut  an  oblong  from  under  the  square  corners 
of  the  wide  hem. 

Suggestion. — The  folding  of  hems  may  be  given  to  little  children.  It 
is  well  for  them  to  understand  the  tape  measure  and  make  one  for  themselves 
before  they  begin  the  folding.  The  marking  and  folding  must  be  done  care- 
fully. Manila  paper  or  crinoline  are  good  for  the  first  practice.  The  paper 
should  be  raised  in  the  hands  for  folding.  Samples  of  woven  material  which 
may  illustrate  to  the  children  the  varying  depths  which  must  be  allowed  in 
the  first  fold  of  the  hem,  on  account  of  the  fraying  of  the  cloth,  will  help  to 
make  this  lesson  interesting  and  useful.  Dusters  of  cheesecloth  can  be  made 
by  the  first  and  second  grades.  The  folds  can  be  held  sufficiently  well  with 
the  coarse  running-stitch  made  with  wool  or  zephyr.  The  older  girls  should 
use  the  various  miterings  (No.  5)  at  the  corners  of  the  pieces  on  which  they 
practice  the  folding. 


No.  5.  MITERING. 

MATERIALS  FOR  PRACTICE. 

See  Nos.  4 and  6. 

Application. — Dust-cloth,  doiley  or  holder. 

To  miter  is  to  change  a fold  from  having  a square  end  at  the  corner  to 
an  abrupt  angle  in  which  one  fold  will  exactly  meet  the  one  at  right  angles 


MITERING 


43 


to  it.  The  superfluous  material  may  be  cut  out  after  the  hem  has  been  accu- 


Fig.  5 — Mitered  Corner. 


rately  folded.  The  name  is  derived  from  the  miter  or  high  head  covering 
worn  by  certain  church  dignitaries  (see  Pig.  5). 

No.  1.  By  cutting  an  oblong  from  the  under  fold  and  then  turning  back 
the  corner  into  an  abrupt  angle  (see  Fig.  4,  a). 

No.  2.  By  cutting  a triangular  piece  from  the  muslin  at  the  corner,  the 
base  of  which  will  be  % of  an  inch  above  the  meeting  of  the  creases  made  by 
the  top  folds  of  the  hem.  Turn  down  the  % of  an  inch  mentioned  for  the 
first  fold.  The  sides  of  the  mitered  part  may  exactly  join,  or  one  side  may 
lie  under  the  other  (see  Fig.  4,  b). 

Practice. — See  folding;  hemming;  overhanding. 

Mitering  may  be  applied  in  any  article  where  the  corner  is  formed  by 
one  hem  folding  over  the  other.  It  improves  the  appearance  of  corners  by 
removing  unnecessary  cloth. 


44 


A SEWING  COURSE 


Nos.  6,  7 and  8.  RUNNING. 

MATERIALS  FOR  PRACTICE. 

Unbleached  Muslin  White  or  Colored  Cotton,  Needle  No.  8. 

6x3y2  Inches.  No.  60  or  70. 

White  Muslin  White  Cotton,  No.  80.  Needle  No.  10. 

5x2%  Inches. 

Application. — Duster  (See  No.  4).  In  combination  with  other  stitches 
(See  No.  23). 

Use. — For  basting,  joining  breadths  of  material,  gathering  and  tucking. 
Fitness. — It  is  rapidly  executed,  strong  enough  to  be  used  in  a seam 
where  the  strain  is  not  great,  of  a form  which  enables  the  materials  to  be 
drawn  up  on  a thread  as  in  gathering,  and  easy  of  removal,  as  required  in 
basting. 

Varieties  of  the  Stitch. — Plain  running  whether  large  or  small;  bast- 
ing, regular  and  irregular;  gathering,  including  gauging  and  shirring. 

Rule. — For  Plain  Running.  Each  stitch  and  space  must  be  of  the  same 
length;  the  stitches  follow  each  other  consecutively;  the  number  of  threads 
taken  up  by  the  needle  depends  on  the  stuff  used,  and  the  required  fineness 
of  the  stitch.  For  very  fine  running,  as  few  as  two  threads  of  the  material 

may  be  taken  up.  It  is  not  neces- 
sary, however,  to  count  the  threads ; 
the  eye  may  be  trained  to  judge 
the  correct  length.  The  position 
for  holding  the  work  is  with  the 
thumb  and  first  finger  of  the  left 
hand,  while  the  needle  is  inserted 
with  the  right  hand.  The  thimble 
should  be  against  the  needle,  the 
thumb  pressed  on  the  needle,  and 
the  first  finger  back  of  the  needle 
on  the  other  side  of  the  cloth.  The 
left  hand  pushes  the  cloth  on  the 
needle.  When  proficient  the 
needle  is  seldom  removed  from  the 
cloth  during  the  progress  of  the 
work.  Unless  the  knot  can  be  made 
very  small  and  can  be  well  con- 
cealed, it  is  better  to  begin  with- 
out one.  In  the  latter  case  take  a double  stitch  which  may  be  covered  by 
the  first  stitch  showing  on  the  right  side ; finish  off  with  a double  stitch  on  the 
wrong  side  in  the  first  space  back  of  the  place  from  which  the  thread  comes 
out;  this  will  strongly  fasten  the  thread  under  a stitch  and  will  therefore 
not  show  on  the  right  side. 

Rule. — For  Basting.  To  hold  together  two  or  more  pieces  of  material 
until  a strong  stitch  can  secure  them.  Begin  with  a knot.  (1)  Regular  bast- 
ing is  plain  running  made  with  large  stitches.  It  is  used  where  careful 


RUNNING 


45 


basting  is  required  (See  Fig.  6,  a).  (2)  Irregular  basting.  The  first  variety 

of  it  is  used  for  preparing  for  further  sewing  either  by  hand  or  machine, 
where  there  is  little  danger  of  the  material  slipping  apart  and  a straight  line 
of  direction  is  of  benefit.  The  stitch  consists  of  one  very  long  running  stitch 
showing  on  the  surface,  and  a short  stitch  taken  through  to  the  surface  again 
(See  Fig.  6,  The  second  variety  of  irregular  basting  is  used  when  the 
cloth  or  some  heavy  material  is  to  be  basted  together  for  machine  or  hand 
work.  It  is  stronger  than  the  first  variety  mentioned.  The  stitch  consists 
of  one  very  long  running  stitch  and  two  or  more  short  running  stitches.  The 
third  variety  of  irregular  »ba sting  (see  Fig.  6,  c),  is  used  in  dressmaking, 
especially  in  holding  material  to  the  lining.  The  stitch  consists  of  one  long 
slanting  stitch  on  the  surface  and  a short  slanting  running  stitch  through 
the  material.  The  position  of  the  hand  in  basting  is  very  free  as  the  stitch 
is  long.  It  cannot  be  held  as  for  fine  running. 

Rule. — For  Gathering.  To  draw  up  material  on  a previously  inserted 
thread.  By  this  means  fullness  may  be  inserted  into  a narrow  space.  In 
certain  garments  width  of  material  is  required  to  give  the  limbs  full  play, 
but  to  keep  the  garment  in  place  the  material  must  be  confined  within  nar- 
row limits.  This  is  accomplished  in  gathering.  (1)  Regular  gathering  is 
a plain  running  stitch.  Two  or  more  lines  of  running  stitches  of  the  same 
size  may  be  so  placed  that  the  stitches  in  one  line  are  exactly  above  or  below 
those  on  the  other  line ; when  drawn  up  this  form  of  gathering  is  called  gaug- 
ing. Two  or  more  lines  of  running  stitches  of  the  same  size  may  be  placed 
one  below  the  other  with  no  attempt  to  make  the  stitches  in  one  line  fall 
directly  under  those  in  the  line  above.  When  this  form  of  gathering  is  drawn 
up  it  is  called  shirring.  (2)  Irregular  gathering.  When  the  material  is  to 
be  stroked  after  gathering,  or  when  a large  amount  of  thick  material  is  to 
be  brought  into  a small  compass,  an  irregular  running  stitch  is  better  than  a 
regular  one  (see  Fig.  6,  b).  For  stroking  twice  as  much  material  should  be 
covered  by  the  needle  on  the  right  side  of  the  material  as  is  taken  up  by  the 
needle.  In  very  fine  material  short  stitches  should  be  taken;  it  facilitates 
the  work  of  gathering  if  previous  to  taking  the  stitches,  the  edge  of  the 
material  where  the  stitches  are  to  go  is  turned  down  and  creased.  Make  a 
knot  in  the  thread  and  take  through  the  crease  the  irregular  gathering  stitch ; 
when  this  is  finished  the  gathers  must  be  placed.  Draw  up  the  gathering 
thread  tightly,  and  secure  it  around  a pin.  Begin  at  the  left  side,  and  with 
the  fingers  place  the  gathers  as  neatly  as  possible;  then  take  a coarse  needle 
or  pin  and  carefully  stroke  every  gather  straight  along  the  woven  threads, 
pushing  it  under  the  left  thumb  and  forefinger  and  pinching  it;  no  scratch- 
ing noise  should  be  made,  as  this  shows  the  material  is  being  injured.  The 
upper  part  of  the  gathers  must  also  be  laid  in  place.  In  some  materials 
the  hand  stroking  is  sufficient.  The  thread  should  be  a little  longer  than 
the  length  of  the  part  in  which  it  is  finally  to  go  (when  a long  gather  is  to 
be  made,  as  for  a petticoat,  the  material  should  be  divided  into  four  or  more 
parts  and  a new  thread  taken  for  each  part).  Fine  thread  doubled  is  better 
for  gathering  than  one  single  coarse  thread  as  the  two  are  less  apt  to  break 
than  the  one. 

For  dress  skirts,  gathering  is  often  done  on  single  or  double  material 
which  is  quite  thick.  In  this  case  two  or  more  lines  of  irregular  gathering 
stitches  may  be  taken,  the  stitches  in  one  line  being  directly  under  those  in 
the  other,  and  the  gathers  drawn  into  the  length  of  the  band  without  need 
of  stroking.  The  stitch  will  consist  of  a small  amount  taken  up  by  the  needle 


46 


A SEWING  COURSE 


and  a large  space  covered  by  the  needle  so  that  the  cloth  will  be  drawn  up 
in  the  folds. 

Practice. — Basting.  Take  the  square  of  crinoline  folded  into  hems  on 
its  four  sides  (see  No.  4),  and  baste  down  the  hems  with  colored  cotton  or 
take  a piece  of  unbleached  muslin,  6x3%  inches,  turn  one  raw  edge  along  the 
length  into  a % of  an  inch  hem  and  then  turn  the  same  sized  hem  on  the 
two  short  sides,  making  the  corners  square  or,  if  desired,  using  the  miter  (see 
No.  5).  Baste  this  hem  all  around  near  the  edge  of  the  fold  with  an  even 
basting  stitch*  Across  the  raw  edge  of  the  practice  piece  of  unbleached  mus- 
lin, % of  an  inch  from  the  edge,  make  a line  of  fine  Running  Stitches.  Do  not 
fasten  off  the  thread,  but  cut  it  one  inch  from  the  last  stitch.  Put  a knot 
in  the  end  and  let  it  remain  in  that  way.  Put  in  another  row,  % of  an  inch 
below  the  line  of  fine  running.  See  that  each  stitch  and  space  in  the  second 
line  is  directly  under  the  stitch  and  space  in  the  top  line.  This  will  indicate 
the  way  gauging  is  done.  If  more  practice  is  desired  in  basting,  two  long 
strips  of  unbleached  muslin  may  be  basted  together  with  the  irregular  bast- 
ing stitch. 

Gathering.  Take  a piece  of  white  muslin,  5x2%  inches,  turn  down  the 
raw  edge  about  % of  an  inch  from  the  top  and  crease  it  so  as  to  show  the 
line  along  which  the  gathering  thread  is  to  run.  Double  No.  80  white  cotton 
and  put  a knot  in  one  end.  Take  through  the  creased  line  an  irregular 
gathering  stitch  (see  Fig.  6,  6),  covering  over  less  than  % of  an  inch  and 
taking  up  about  one-half  of  that  amount.  This  will  prepare  for  fine  stroking. 
Draw  up  the  thread  and  stroke  according  to  the  rule  for  stroking. 

Suggestion. — Running  is  one  of  the  easiest  stitches  for  little  children  to 
learn.  They  can  make  it  first  on  canvas  with  wool  and  a tapestry  needle  in 
some  attractive  design  (see  No.  2),  later  they  can  do  coarse  running  or  bast- 
ing on  muslin  with  cotton  thread.  The  stitch  is  strong  enough  to  make  a 
duster  or  washcloth  by  holding  the  hems  with  wool  or  heavy  thread  or  it 
can  be  used  for  seams  and  hems  in  soft  materials  and  thus  enable  the  chil- 
dren in  early  grades  to  make  simple  little  articles,  doll's  clothes,  or  primitive 
dress.  Every  lesson  should  mean  something  to  the  children — i.  e.,  basting 
should  not  be  a mere  comparison  of  the  forms' of  the  stitches  which  may  be 
useful  for  teachers,  but  is  of  little  help  to  children,  but  they  should  actually 
baste  in  the  way  such  work  should  be  done.  The  younger  pupils  can  baste 
together  material  for  the  older  ones  to  sew  on  the  machines.  The  running 
stitch  can  be  used  in  combination  with  other  stitches  in  such  articles  as  aprons 
or  bags  (see  No.  23),  and  can  also  be  used  for  gathering.  It  is  always  diffi- 
cult for  young  children  to  take  more  than  one  stitch  at  a time,  but  they 
must  not  thrust  the  needle  in  and  out  as  they  would  in  cardboard,  but  learn 
to  slip  it  along  easily. 

The  running  stitch  is  often  taught  by  following  elaborate,  pictorial  out- 
lines of  objects  traced  on  muslin — this  is  not  as  good  a way  as  those  already 
mentioned.  The  outlines  must  be  well  done  if  the  wish  is  to  show  the  design. 
But  if  the  main  object  is  to  learn  the  stitch,  the  ordinary  use  of  it  is  a better 
lesson.  When  the  stitch  can  be  made  well  enough  to  use  satisfactorily  on  the 
design,  it  is  no  longer  necessary  to  practice  it,  hence  following  the  design  is  a 
waste  of  time. 

♦Colored  cotton  may  be  used  for  basting  in  the  first  practice  piece  of  the  running  stitch, 
if  it  is  desirable  for  the  eye  to  see  the  regularity.  Basting  which  is  to  be  taken  out  should  not 
be  made  with  colored  cotton,  as  it  is  liable  to  crock. 


STITCHING  AND  BACKSTITCHING 


47 


Nos.  9 and  10.  STITCHING  AND  BACKSTITCHING. 


MATERIALS  FOR  PRACTICE. 


Bleached  or  Colored  Cotton,  No.  60.  Needle,  No.  9. 

Unbleached  Muslin, 

4x2%  Inches  (2  pieces). 

Application. — Beanbag  or  pan  lifter.  See  also  Nos.  21,  22,  23. 

Use. — Where  strength  is  required  for  seams,  holding  bands,  tapes  and 
hems.  The  stitching  stitch  is  also  used  ornamentally. 

Fitness. — As  double  stitches  they  are  strong  and  adapted  to  purposes 
where  durability  is  required  as  in  seams. 

Rule  for  Stitching. — The  stitch  is  worked  from  right  to  left  on  double 
material.  First  baste  carefully  together  the  two  materials;  the  basting  may 
serve  as  a guide  to  the  worker,  and  also  keep  the  materials  from  slipping  apart. 
A seam  should  be  made  far  enough  from  the  edge  of  the  cloth  to  avoid  the 
danger  of  raveling.  Begin  by  a small  knot  or  by  a few  running  stitches  on 

- i i , the  wrong  side,  which 
may  be  held  down  later 
a by  the  stitching  stitches, 
and  bring  the  thread  to 
the  right  side  of  the  ma- 
terial about  Ys  of  an 
l inch  from  the  end  of  the 

cloth  where  the  work  is 
to  begin.  Take  a short 
stitch  back  on  the  upper  side  of  the  cloth  and  a stitch  twice  as  long  forward 
on  the  wrong  side.  When  the  thread  again  comes  to  the  surface  make  a stitch 
back  to  meet  the  stitch  already  made.  The  effect  on  the  right  side  is  a series 
of  short  stitches,  one  meeting  the  other  (see  Fig.  7,  a),  and  on  the  wrong 
side  a cord-like  effect,  made  by  the  folding  over  of  the  long  stitches  (see  Fig. 
7,  b).  This  is  especially  the  fact  if  the  stitch  is  made  very  carefully.  Hold 
the  work  over  the  first  finger  of  the  left  hand,  and  slant  the  needle  toward 
the  left  shoulder. 


u 


Fig.  7. — Stitching. 


Rule  for  Backstitching. — The  same  rule  applies  to  backstitching  as  to 
stitching,  except  that  the  stitches  on  the  right  side,  instead  of  exactly  meeting 

have  a space  between  as  they 
go  but  half  way  back  (see 
Fig.  8).  This  makes  the 
stitch  on  the  back  three  times 
the  length  of  the  one  on  the 

Fw.  8.— Backstitching.  ri?ht  side-  The  names  of  these 

stitches  are  often  confused, 
as  the  terms  are  used  indiscriminately.  The  explanation  is  given  that  the 
name  of  the  stitching  stitch  was  originally  backstitching,  and  the  other  stitch 
was  called  half-backstitching ; for  brevity  each  stitch  was  relieved  of  half  its 
title,  and  confusion  of  ideas  resulted. 


48 


A SEWING  COURSE 


Practice. — Take  two  pieces  of  unbleached  muslin,  4x2%  inches,  baste 
them  carefully  together  into  a seam  % of  an  inch  from  the  raw  edges.  Make 
a line  of  stitching  one-half  way  across  in  colored  thread,  directly  above  or 
below  the  basting  line.  Let  the  stitches  be  small  enough  for  strength,  but 
large  enough  for  their  regularity  or  irregularity  to  be  distinctly  seen.  Hav- 
ing made  one-half  of  the  seam  with  stitching,  the  backstitching  may  be  used 
for  the  other  half,  so  that  the  appearance  of  the  two  stitches  may  be  compared. 

Suggestion. — It  is  not  necessary  at  first  to  insist  that  a beginner  should 
make  the  stitch  mechanically  perfect.  If  it  is  even  and  strong  enough  for  its 
purpose  it  should  be  accepted  and  utilized  on  an  article.  Stitching  is  an 
attractive  and  simple  stitch  on  canvas,  and  can  be  thus  given  to  young  pupils. 
They  should  notice  the  rope-like  effect  at  the  back  and  also  that  it  may  be 
marred  by  a change  in  the  way  the  needle  is  inserted.  Care  in  this  coarse 
work  will  help  in  gaining  the  technical  skill  needed  later.  Stitching  is  not 
difficult,  for  the  movements  are  simple  and  practice  soon  renders  them  easy. 

Coarse,  soft,  unbleached  muslin  is  good  for  practicing  the  stitches.  A 
basted  or  creased  line  may  help  in  the  first  attempt  to  make  an  even  seam. 
A pencil  line,  a stamped  stitch  or  a drawn  thread  should  not  be  used  as  a 
guide,  for  the  judgment  of  the  children  should  be  trained.  It  is  better  for 
them  to  make  mistakes  and  correct  them  than  to  be  given  helps  which  do  not 
develop  their  own  powers.  The  stitch  should  be  utilized  as  soon  as  it  can  be 
made  sufficiently  well  for  a seam,  as  the  skill  needed  will  come  better  through 
making  some  article  than  by  many  repetitions  of  the  practice  piece.  Doll’s 
clothing,  clothing  cases  and  bags  of  various  kinds  may  be  made. 


No.  11.  OVERCASTING. 

MATERIALS  FOR  PRACTICE. 

Raw  Edges  of  the  Practice  Pieces.  Cotton  No.  60.  Needle  No.  9. 

Application. — On  the  seams  of  articles  or  garments.  See  No.  23. 

Use. — To  keep  the  raw  edges  of  materials  from  raveling. 

Fitness. — The  form  is  adapted  to  hold  threads  from  raveling  without 
making  the  raw  edge  stiff. 

Rule. — The  stitch  is  loose  and  slanting,  and  taken  over  the  raw  edges  of 
material.  It  is  made  usually  from  right  to  left  (some  prefer  to  make  it  from 
left  to  right).  The  stitches  are  of  equal  size,  the  depth  and  distance  apart 
depend  on  the  character  of  the  material,  the  object  is  merely  to  keep  it  from 
raveling  (see  Fig.  9).  Begin  with  a knot.  In  seams  conceal  it  between  the 
raw  edges.  Hold  the  work  over  the  first  finger,  or  the  first  and  second  fingers 

of  the  left  hand.  Place  the 
needle  over  the  raw  edges 
and  through  the  material, 
slanting  it  toward  the  left 
shoulder.  The  stitches  should 
always  be  the  same  distance 
from  the  raw  edge  and  the 
same  distance  apart.  When 
a new  thread  is  necessary,  in- 
sert the  needle  as  if  to  take 
a new  stitch,  withdraw  it,  and 


OVERCASTING 


49 


fasten  off  on  the  wrong  side  where  the  hole  was  punctured  by  the  needle. 
Begin  the  new  thread  with  a knot,  insert  it  between  the  raw  edges,  and  bring 
the  thread  to  the  right  side  where  the  punctured  hole  was  made  and  continue 
the  stitch  as  though  it  had  never  been  interrupted.  When  turning  a corner, 
put  the  first  stitch  around  the  corner  in  the  same  hole  as  the  previous  one; 
this  will  make  a Y-shaped  stitch  in  the  corner  and  a neat  turn. 

Practice. — On  any  of  the  former  practice  pieces.  Let  the  stitch  be 
small,  and  as  far  apart  as  will  be  consistent  with  the  danger  of  raveling. 
Seams  may  be  overcast  together  or  separately;  in  the  latter  case  the  seams 
should  be  pressed  apart  after  the  work  is  completed.  Overcast  bias  seams 
from  the  wide  end  to  the  narrow,  as  they  are  thus  less  apt  to  ravel. 

Suggestion. — Overcasting  is  an  attractive  stitch  on  canvas;  it  is  easy 
for  little  children  to  learn  and  may  be  used  by  them  on  burlap  mats  to  keep 
the  fringe  from  raveling.  It  is  better  to  make  the  stitch  before  fringing  out 
the  burlap.  The  blanket  stitch  may  be  contrasted  with  overcasting  as  a 
means  to  hold  raw  edges.  It  is  well  to  give  the  children  a choice  in  the  way 
of  finishing  mats. 

It  can  also  be  used  in  making  an  iron  holder  or  pan  lifter.  Take  two 
squares  of  denim,  turn  narrow  folds  % inch  on  the  four  sides  of  each  so 
that  when  the  two  squares  are  laid  one  upon  the  other  they  will  match  in 
size,  lay  a piece  of  woolen  cloth  or  thin  ingrain  carpet  between  the  two  pieces, 
baste  them  together,  so  that  the  raw  edges  are  inside,  with  large  stitches. 
Overcast  the  two  pieces  together  using  coarse  linen  thread  of  a contrasting 
color.  After  the  stitch  has  been  made  on  all  four  sides,  return  in  the  opposite 
direction,  thus  making  a coarse  cross-stitch.  In  the  pan  lifter  sew  a piece 
of  tape  about  % a yard  long  to  one  corner  with  the  stitching  or  overhanding 
stitch  (see  No.  33),  so  that  it  may  be  fastened  to  the  belt  of  the  worker. 

Overcasting  is  a freehand  stitch  and  often  requires  much  practice  to  ac- 
complish it  easily.  It  should  finally  be  done  very  rapidly.  All  articles  and 
garments  having  raw  edges  inside  should  be  finished  by  overcasting  before 
laying  them  aside.  If  the  practice  pieces  are  to  be  kept  they  also  should 
be  neatly  overcast. 


Nos.  12  and  13.  RUNNING  AND  BACKSTITCHING. 

MATERIALS  FOR  PRACTICE. 

Bleached  or  Colored  Cotton,  No  6G.  Needle,  No.  9. 

Unbleached  Muslin, 

4x2%  Inches  (2  pieces). 

Application. — See  Nos.  9,  10,  13,  20,  21  and  22. 

Use. — For  seams  and  other  purposes  where  some  strength  is  required. 
Fitness. — It  is  rapidly  accomplished,  and  fills  a place  between  the  weak- 
ness of  the  running  stitch  and  the  strength  of  the  stitching  and  backstitching. 

Rule. — The  work  is  done  from  right  to  left.  It  is  held  as  in  the  stitch- 
ing stitch.  There  are  various  forms  of  it.  The  number  of  running  stitches 
between  the  stitching  or  backstitching  may  vary  at  will,  according  to  the 
strength  required.  There  are  two  forms  of  it  which  are  especially  useful. 


50 


A SEWING  COURSE 


No.  1.  This  form  of  the 
stitch  is  two  running  stitches 
and  one  backstitch  (see  Fig. 
10).  It  has  the  effect  of  a 
line  of  running  stitches,  on 
the  side  toward  the  worker, 
and  makes  an  attractive  fin- 
ish. It  is  used  for  seams.  Be- 
gin with  a small  knot,  or 
fastened  in  the  seam.  Take 
two  or  more  running  stitches,  which  can  be  counted  on  the  side  toward  the 
worker,  and  then  twice  the  length  of  one  of  the  running  stitches  on  the  needle, 
and  a backstitch  will  cover  half  the  space.  Pass  needle  forward  under  the 
backstitch  and  ahead  the  length  of  one  running  stitch,  and  bring  the  needle 
to  the  right  side  again  to  begin  a new  running  stitch. 

No.  2.  This  form  of  the  stitch  has  two  running  stitches  and  one  stitching 
stitch.  It  is  desirable  in  the  fell  to  have  the  wrong  side  of  the  stitch  attrac- 
tive, as  it  is  that  part  which  shows  on  the  completion  of  the  work.  Care  is 
needed  in  the  fastening  of  the  thread  at  the  beginning.  Take  a careful 
double  stitch  on  the  side  on  which  the  work  is  done,  or  fasten  with  a small  knot 

between  the  raw  edges  of  the 
seam.  Take  two  running  stitches, 
and  bring  the  needle  to  the  right 
side  as  if  for  a third ; instead  of 
continuing,  take  a stitch  back 
to  the  previous  running  stitch, 
and  bring  it  forward  on  the 
wrong  side  across  the  last  run- 
ning stitch,  and  then  to  the 
right  side  in  the  same  place  the 
former  stitch  came  through.  This  will  make  one  stitch  over  the  other  on 
the  wrong  side,  Fig.  11,  b,  but  the  effect  is  the  running  stitch.  Three  stitches 
meet  on  the  right  side,  Fig.  11,  a. 

There  is  another  form  of  stitch  frequently  used.  Take  several  running 
stitches  and  a stitching  stitch  which  will  meet  the  last  running  stitch.  Pass 
the  needle  behind  the  stitching  stitch  and  ahead  the  length  of  a running 
stitch,  and  bring  it  to  the  right  side  for  the  running  stitch  again.  This 
form  is  not  as  neat  in  appearance  as  the  others. 

Practice. — Take  two  pieces  of  bleached  or  unbleached  muslin,  4x2% 
inches,  baste  them  carefully  together  into  a seam  % of  an  inch  from  the  raw 
edges.  Make  a line  of  backstitching  (form  No.  1)  one-half  way  across,  di- 
rectly above  or  below  the  basting  line.  Continue  the  remainder  of  the  seam 
with  form  No.  2.  Practice  probably  will  not  be  needed  on  the  third  variety 
of  the  stitch.  The  French  seam  is  often  made  with  No.  1 and  the  fell  with 
No.  2. 


Fig.  11. — Running  and  Backstitching, 
Second  variety,  a right  side; 

b WRONG  SIDE. 


Fig.  10. — Running  and  Backstitching.  First 

VARIETY,  a,  RIGHT  SIDE;  b,  WRONG  SIDE. 


HEMMING 


51 


No.  14.  HEMMING. 

MATERIALS  FOR  PRACTICE. 

Unbleached  Muslin,  Colored  Cotton,  No.  60.  Needle,  No.  9. 
6x2%  Inches. 

White  Victoria  Lawn,  White  Cotton,  No.  100-150.  Needle,  No.  10-12. 
4%xl  Inches. 

Application. — Washcloth,  handkerchief,  apron,  kimono.  See  No.  23. 
Use. — A means  of  finishing  the  raw  edges  in  clothing  and  other  articles 
such  as  aprons,  dusters  and  towels. 

Fitness. — The  double  fold  of  material  and  the  slanting  stitch  make  a 
strong  finish. 

Rule. — The  stitch  is  worked  from  right  to  left  on  the  edge  of  a folded 
hem.  When  the  hem  is  well  turned  down  and  when  necessary  carefully  basted, 
lay  the  work  across  the  first  finger  of  the  left  hand,  with  the  fold  turned  to- 
ward the  outside  of  the  hand.  Make  a small  knot  and  conceal  it  under  the 
hem  or  point  the  needle  to  the  right  into  the  extreme  end  of  the  folded  hem, 
and  draw  through  all  but  a little  end  of  thread,  which  must  lie  along  the  hem 
to  be  sewed  in  with  the  first  stitches.  Now  point  the  needle  toward  the  left, 
first  into  the  material  and  then  through  again  into  the  edge  of  the  hem.  Make 
slanting  stitches.  (The  hemming  stitch  is  sometimes  made  straight  with  the 
hem  instead  of  slanting ; it  is  less  strong  in  this  way. ) Uniformity  of  slant  and 
size  are  more  important  than  small  stitches  for  beginners.  If  pupils  are  taught 
to  notice  carefully,  they  will  observe  that  in  a correct  position  the  two  thumbs 


Fig.  12. — Hemming  Stitch  on  Canvas.  Fig.  13. — Hemming.  Taking  of  New 

Thread. 

are  at  right  angles  with  each  other.  When  the  thread  has  been  pulled  through 
the  fold  on  the  wrong  side,  be  particular  not  to  begin  the  next  stitch  directly 
under  it,  but  a little  in  advance.  The  stitch  is  composed  of  two  parts,  slant- 
ing toward  each  other,  and  in  close  hemming  forms  a tent  shape,  the  two  sides 
of  which  are  equal.  (See  Fig.  12.)  The  needle  should  go  fully  through  to 


52 


A SEWING  COURSE 


the  right  side  if  the  material  is  to  be  laundered,  or  it  makes  an  insecure 
stitch.  The  stitch  must  be  even,  but  threads  should  not  be  counted.  Care 
must  be  taken  in  beginning  a new  thread  in  the  middle  of  a hem.  If  the  fast- 
ening of  both  new  and  old  threads  cannot  be  neatly  made  in  the  hem  break 
the  old  thread  off  short,  pull  out  a stitch  or  two,  leaving  the  end  between  the 
fold  and  the  material,  and  begin  a new  thread  in  the  fold  where  the  last 
stitch  was  pulled  out ; hold  down  the  ends  of  both  old  and  new  thread  with 
the  first  stitches,  letting  them  lie  along  the  fold.  Fasten  off  by  taking  two 
stitches  in  the  fold  over  the  last  stitches  taken.  To  avoid  pricking  the  finger, 
loosen  the  work  a little  as  the  stitch  is  taken. 

For  hemming  on  silk,  chiffon  or  very  sheer  cotton  material  the  stitch 
is  made  differently  so  that  it  will  be  almost  invisible  on  the  right  side.  In 
such  cases  a very  long  slanting  stitch  is  taken  on  the  wrong  side,  while  the 
needle  takes  up  on  the  right  side  as  little  material  as  will  hold  the  hem  in 
place.  Sometimes,  catching  one  half  of  a single  thread  of  the  cloth  is  suf- 
ficient to  hold  down  the  material. 

Practice. — First  practice  piece.  Take  a strip  of  unbleached  muslin, 
6x2%  inches,  fold  % inch  hem  along  the  two  short  sides  and  across  one 
long  edge.  Square  the  corner  nearest  to  the  point  where  the  hem  is  begun,  cut 
out  the  unnecessary  cloth  from  under  the  fold.  Miter  the  other  corner,  ac- 
cording to  Miter  No.  1.  Baste  the  hem  carefully  with  white  cotton.  If  the 
cloth  is  cut  and  folded  exactly,  it  is  easier  to  make  the  stitch  even.  Begin 
the  work  at  the  extreme  left  hand.  Hem  along  one  short  side  to  the  square 
corner.  (In  hemming  across  the  square  and  mitred  corners,  do  not  allow 
the  stitch  to  go  through  to  the  right  side.)  Put  the  needle  through  the  hem 
without  going  through  to  the  right  side,  overhand  neatly  the  fold  to  the 
under  fold,  and  begin  the  hemming  stitch  again  at  the  point  where  it  reaches 
the  corner.  At  the  mitred  corner  put  the  needle  through  the  cloth  to  the 
extreme  outer  point,  and  hem  along  the  mitre  and  then  along  the  remaining 
short  side  of  the  practice  piece.  The  work  on  this  practice  piece  should  be 
done  with  colored  thread,  that  the  weak  points  in  the  stitch  may  be  seen  and 
criticised. 

Second  practice  piece.  Take  a strip  ‘H/^xl  inch  of  white  Victoria  lawn, 
or  some  fine  muslin.  Cut  one  end  into  a point.  Turn  in  the  narrowest  hem 
possible  along  each  of  the  long  sides,  and  across  the  pointed  end.  Hem  with 
white  cotton  No.  100,  and  the  finest  hemming  stitches. 

Suggestion. — Hemming  is  a difficult  stitch  to  learn,  as  it  requires  neat 
and  accurate  adjustment;  it  is  not  well  for  young  children  to  attempt  it  on 
fine  cotton  cloth.  As  decoration  it  is  very  attractive;  children  in  first  and 
secondary  primary  grades  may  utilize  it  on  canvas  with  colored  wool  and 
gain  ideas  of  its  form  and  accuracy  which  will  make  it  easier  for  them  later 
to  learn  to  make  it  on  muslin,  or  they  can  make  a coarse  stitch  with  colored 
wool  on  cheesecloth  for  a duster. 

For  the  first  practice  on  muslin,  the  stitch  should  be  made  rather  coarse. 
When  once  learned  it  is  easy  to  make  it  small  and  accurate. 

The  pupils  should  be  given  articles  to  work  on  as  quickly  as  possible, 
even  if  they  can  only  make  a large  and  irregular  stitch  at  first,  improvement 
will  come  more  rapidly  than  on  practice  pieces.  The  very  interest  they  feel 
in  the  work  will  increase  their  critical  spirit  and  their  desire  for  better  ef- 
fects. Handkerchiefs,  aprons,  sheets,  and  sails  may  be  made  entirely  of  the 
hemming  stitch. 


HEMMING 


53 


Running,  stitching  and  hemming  are  so  universally  utilized  in  articles  of 
everyday  use  that  any  child  who  has  learned  them,  is  able  to  be  of  use  to 
herself  and  to  others.  It  is  in  the  hands  of  the  teacher  to  suggest  uses  for 
them  by  showing  the  classes  hemming  on  garments,  by  giving  various  articles 
to  construct  and  by  encouraging  free  expression  of  opinion  to  develop  ideas 
connected  with  them. 


Nos.  15,  16  and  17.  OVERHANDING. 


MATERIALS  FOR  PRACTICE. 


White  Cotton, 
No.  80  or  100. 
White  Cotton, 
No.  80  or  100. 
White  Cotton, 
No.  80  or  100. 


Needle,  No.  10  or  11. 
Needle,  No.  10  or  11. 
Needle,  No.  10  or  12. 


See 


No.  1.  Narrow  Striped 
Gingham,  4x4  Inches. 

No.  2.  Damask, 

4x4  Inches. 

No.  3.  White  Muslin, 

Two  selvage  strips,  4x2  in. 

Torchon  Lace,  y2  in.  wide, 

9 y2  Inches. 

Application. — Pinballs,  holders,  napkins  and  cases  of  various  kinds. 

Fig.  40. 

Use. — To  so  fasten  together  two  pieces  of  material  that  the  joining  will 
scarcely  be  visible,  yet  the  seam  will  be  strong,  as  in  a patch;  uniting  seams 
and  selvages  for  underclothing  and  bed  linen;  hemming  table  linen  and  sew- 
ing on  lace. 

Fitness. — The  close  stitch  is  strong,  while  the  form  makes  it  almost 
invisible. 

Rule. — Place  together  and  baste  the  two  pieces  of  material  to  be  over- 
handed. If  the  edges  are  raw,  a small  fold  should  be  turned  on  each  piece; 
if  selvages,  they  can  be  placed  exactly  together.  The  direction  of  the  sewing 
is  from  right  to  left  (it  is  sometimes  worked  from  left  to  right).  The  form 
of  the  stitch  is  a slanting  line  meeting  a straight  one.  See  Fig.  14.  It  is 
better  to  work  the  stitch  on  the  wrong  side  of  the  material,  as  it  places  the 
slanting  part  of  the  stitch  on  the  wrong  side.  The  straight  part  falls  in  the 
direction  in  which  the  threads  are  woven,  and  thus  shows  less.  In  over- 
handing  a patch  to  a garment,  however,  it  is  easier  to  insert  the  patch  from 
the  right  side,  the  slight  imperfection  arising  from  the  showing  of  the  slant- 
ing part  of  the  stitch  is  offset  by  the  greater  difficulty  of  setting  the  patch 
in  satisfactorily  from  the  wrong  side.  In  overhanding,  the  material  is  held 

horizontally  in  the  left  hand,  with 
the  edges  lying  along  the  first 
finger;  the  thumb  and  first  finger 
keep  the  material  in  place;  the 
right  elbow  should  be  raised  from 
the  side,  and  the  needle  should 
point  to  the  chest  in  each  stitch; 
a knot  may  be  used,  but  often  in- 
terferes with  a neat  finish.  The 
thread  can  be  fastened  down  by 
the  first  stitches,  in  which  case  be- 
gin by  pointing  the  needle  to  the 


Fig.  14. — Overhanding. 


54 


A SEWING  COURSE 


right,  and  taking  the  first  stitch  in  the  fold  at  the  extreme  right  end.  Leave 
an  end  of  thread  along  the  fold,  to  be  fastened  down  by  the  first  few  stitches. 
The  stitches  should  be  a couple  of  threads  deep  and  should  not  be  crowded, 
that  a flat  seam  may  result.  This  is  especially  important  in  selvages,  as,  if 
the  stitch  is  too  deep,  it  makes  an  ugly  ridge.  In  very  fine  work  when  a new 
thread  is  necessary  the  short  end  of  the  old  one  may  be  taken  out  of  the  fold 
nearest  the  worker  and  a new  one  inserted  in  the  same  hole;  both  threads 
should  lie  together  between  the  folds  or  selvages  to  be  held  down  by  the  next 
stitches.  Finish  off  by  sewing  back  a few  stitches.  Take  the  basting  thread 
out  and  open  the  seam  with  the  nail.  It  should  lie  perfectly  flat  and  the 
stitches  should  be  scarcely  visible. 

Practice. — First  practice  piece.  Overhanding  a seam.  Take  a piece  of 
narrow  striped  gingham,  4x4  inches,  cut  it  apart  between  the  stripes  about 
an  inch  from  one  side;  turn  narrow  folds  on  the  cut  edges,  matching  the 
stripes  so  that  the  pattern  will  be  perfect  on  the  right  side;  lay  the  right 
sides  together  and  baste  if  necessary.  Overhand  together  according  to  the 
rule  for  overhanding.  If  more  practice  is  needed  cut  from  one  of  the  corners 
of  the  practice  piece  a diagonal  iy2  inches  along  the  straight  sides ; cut  from 
another  piece  of  the  same  kind  of  material  a bias  piece  to  match  in  pattern 
and  overhand  together,  being  careful  not  to  stretch  the  bias  edges  while  sewing. 

Second  Practice  Piece. — Napery  stitch,  or  overhanding  on  linen.  Or- 
dinary hemming  is  not  strong  enough  for  damask,  and  overhanding  is  used 
in  its  place.  Take  a piece  of  damask  4x4  inches,  turn  as  narrow  a hem 
as  possible  (the  narrower  the  hem  the  better  the  effect).  When  the  hem 
is  turned  turn  it  back  again  on  itself  the  exact  width  of  the  hem;  overhand 
the  fold  to  the  main  body  of  the  material. 

Third  Practice  Piece. — Overhanding  selvages  and  overhanding  lace.  In 
bed  linen  and  underclothing,  selvages  are  frequently  overhanded  together. 
Take  two  selvage  strips  of  muslin  4x2  inches,  overhand  carefully  together, 
not  taking  too  deep  a stitch,  or  an  ugly  seam  will  result.  On  completing  the 
seam,  fold  % inch  hem  along  two  adjoining  sides  of  the  practice  piece,  mitering 
the  corner.  (See  Miter  No.  2.)  Overhand  narrow  lace  along  these  two  sides. 
The  lace  should  be  held  toward  the  worker ; it  should  be  held  loosely,  but  not 
full,  if  it  is  held  too  tight  it  will  not  launder  well.  When  the  corner  is 
reached,  twice  the  width  of  the  lace  should  be  allowed  at  the  turn,  so  it  will 
not  draw;  this  fullness  may  be  held  in  % of  an  inch  space  on  each  side  of 
the  corner. 

Suggestion. — The  form  of  the  overhanding  is  attractive,  and  may  be 
used  as  decoration  in  the  canvas  work  adapted  to  the  early  grades.  (See 
No.  2.)  Overhanding  fine  material  together  is  too  hard  for  young  children. 
It  is  especially  difficult  for  them  to  unite  the  selvages,  as  the  turn  back  of 
the  woof  thread  in  the  weaving  makes  an  unequal  and  stiff  edge  for  the 
needle  to  push  through,  but  a deep  stitch  is  incorrect.  Overhanding  on  the 
bias  requires  precision  and  neatness  in  completing  the  pattern,  if  there  is 
one.  It  may  be  practiced  by  the  pupils,  if  necessary.  Children  should  not 
be  allowed  to  make  the  stitch  incorrectly.  It  is  better,  therefore,  to  wait 
until  they  are  capable  of  doing  fine  work  before  teaching  it  to  them.  As 
soon  as  they  learn  it  they  should  utilize  it.  Many  things  can  be  made  with 
the  stitch  such  as  needlebooks  and  pin  cases,  where  two  pieces  of  cardboard 
can  be  covered  with  material  and  overhanded  together;  table-cloths;  napkins; 
pillow  and  bolster  cases ; book-covers ; lined  bags,  and  pin  cushions.  Children 


OVERHANDING 


55 


enjoy  making  them  and  quickly  realize  that  they  can  be  of  use  at  home  or 
to  the  people  they  know.  By  using  the  art  lessons  in  connection  extremely 
attractive  and  often  original  designs  can  be  secured. 


Nos.  18  and  19.  GARMENT  BIAS  AND  TRUE  BIAS. 

A bias  cut  in  cloth  is  a slanting  or  diagonal  severing  of  the  material. 
Both  warp  and  woof  threads  will  be  cut.  (See  Fig.  15.)  It  may  vary  with 
the  requirements  of  the  garment.  A true  or  perfect  bias,  however,  does  not 
vary.  It  is  always  the  diagonal  of  the  square.  It  equally  severs  both  warp 
and  woof  threads.  (Fig.  16.) 


GARMENT  BIAS. 

MATERIALS  FOR  PRACTICE. 

Kindergarten  Paper  (Colored),  4x3  Inches. 

Brown  Manila  Paper,  131/2x41/£  Inches. 

Striped  Paper  for  Bias  Facing. 

Application. — Petticoat  or  small  dress  skirt. 

Use  and  Fitness. — The  slanting  cut  taken  in  some  garments  such  as  in 
drawers,  chemises  and  in  gores  of  skirts,  makes  them  fit  better,  disposes  of 
unnecessary  material,  and  decreases  undesirable  width. 

A gore  is  a piece  of  material  in  which  the  width  is  narrowed  from  bot- 
tom to  top.  In  a skirt  one  side  of  the  gore  is  usually  straight  and  the  other 
bias,  but  fashion  sometimes  dictates  that  both  sides  shall  be  bias.  In  the 
latter  case  two  slanting  pieces  will  often  be  thrown  together  in  one  seam, 
but  as  the  bias  stretches  easily  it  is  apt  to  be  unsatisfactory,  especially  for 
laundering.  It  may  be  strengthened  by  stitching  a stay-tape  or  a straight 
piece  of  material  in  with  the  seam.  When  a straight  edge  is  joined  to  a bias 
one,  the  former  will  support  the  latter  and  keep  it  from  stretching.  Gores 
may  be  placed  at  each  side  of  the  front  breadth  of  a skirt  with  the  straight 
edges  to  the  front.  The  amount  of  slant  in  the  gore  depends  upon  the  figure 


56 


A SEWING  COURSE 


of  the  wearer  and  the  requirements  of  fashion.  A simple  rule  often  followed 
in  white  underskirts  is  to  put  two  parts  at  the  bottom  of  the  gore  to  one  at 
the  top.  In  cutting  a skirt  from  white  muslin  or  any  material  of  sufficient 
width,  which  is  the  same  on  both  sides,  the  gores  may  be  economically  cut  from 
one  length  of  material  as  the  wrong  side  can  be  utilized.  In  the  making  of 
drawers  and  chemises  the  bias  sides  are  laid  together,  care  must  be  taken  not 
to  stretch  the  seam  while  sewing  them  together. 

Rule. — (For  cutting  gores  from  muslin.)  Take  a piece  of  material  long 
enough  for  the  length  of  the  skirt  to  be  made.  Divide  the  top  and  the  bot- 
tom of  the  width  into  thirds  and  mark.  Fold  the  cloth  so  that  there  will 
be  one-third  at  one  end  and  two-thirds  at  the  other,  and  cut  apart  through 
the  fold.  (Fig.  15.)  This  will  give  two  gores;  as  the  material  is  the  same 
on  both  sides  and  one  gore  may  be  turned  wrong  side  out,  both  gores  can  be 
used  in  one  skirt.  This  cannot  be  done  in  material  which  differs  on  the  right 
and  wrong  sides. 

For  applied  work  in  the  use  of  gores,  sewing  seams  on  the  bias,  and 
other  principles  of  garment  construction,  a little  gored  petticoat  may  be  cut 
and  made.  A simple  way  to  teach  a class  which  cannot  draft  is  to  take  a 
strip  of  muslin  13y2  inches  by  4%  inches  (this  is  three  yards  of  muslin 
reduced  one-eighth  scale)  and  cut  the  length  into  three  equal  parts.  One 
piece  may  be  cut  into  gores.  Another  piece  is  for  the  back  and  should  have 
a vent  cut  down  the  center.  The  third  piece  is  for  the  front,  it  can  have 
one-fourth  or  one-sixth  (according  to  fullness  required)  taken  from  each 
side  of  the  top  and  sloped  to  nothing  at  the  bottom.  Lay  a straight  side 
of  one  of  the  gores  on  each  side  of  the  front,  baste  carefully,  and  make  a 
fell  or  French  seam.  (See  Nos.  20,  21,  22.)  Cut  off  the  part  of  the  bias 
that  extends  below  the  seam.  Join  the  back  to  the  gores  in  the  same  way. 
The  facing  for  the  bottom  of  the  skirt  may  be  bias  or  straight.  The  former 
fits  better.  It  is  possible  to  turn  up  the  bottom  of  the  skirt  into  a hem  in- 
stead of  putting  on  a facing,  but  allowance  must  be  made  for  it  in  the  cut- 
ting of  the  skirt. 

The  new  principles  needed  in  putting  together  a skirt,  i.  e.,  felling  or 
French  seam,  gathering,  stroking  and  placket,  putting  on  a band  and  button- 
holes,  should  be  practiced  before  completing  the  petticoat.  Practice  in  the 
use  of  the  true  bias  may  be  combined  with  these  by  the  cutting  of  a bias 
facing  or  the  putting  on  of  a bias  ruffle. 

Practice. — First  Practice  Piece. — Take  Kindergarten  or  other  paper 
4x3  inches  (colored  on  one  side  and  white  on  the  other).  Divide  it  into 
thirds  along  the  three-inch  ends  and  mark.  Double  it  over  so  that  it  will 
slant  from  the  first  mark  at  one  end  to  the  second  on  the  opposite  end. 
(Fig.  15.)  Cut  through  the  crease.  This  will  give  two  gores  and  serve  as 
a basis  of  comparison  for  economical  cutting  with  the  gores  in  the  petticoat 
of  manila  paper,  as  it  shows  that  material  differing  on  the  right  and  wrong 
sides  cannot  be  turned  wrong  side  out  and  utilized. 

Second  Practice  Piece. — Take  manila  paper  13y2x4:y2  inches,  cut  it  into 
a skirt  and  baste  it  together  according  to  the  rule.  Take  striped  tissue  paper 
cut  it  into  one  inch  wide  bias  strips  (see  true  bias),  and  baste  it  on  the  bot- 
tom of  the  skirt.  Fold  placket  No.  1 (see  No.  29)  in  the  back  of  the  skirt. 

Suggestion. — It  is  well  for  every  pupil  to  make  at  least  a small  skirt, 
if,  however,  there  is  not  time  for  this,  they  should  cut  one  from  paper 
and  baste  it  together,  comparing  their  work  continually  with  the  way  to 


GARMENT  BIAS 


57 


proceed  in  cotton  material.  The  length  of  the  cotton  skirt  should  be  cut 
along  the  warp,  as  cloth  is  stronger  in  that  direction.  It  is  well  to  have  a 
class  doll  or  a lay  figure  so  that  measurements  may  be  taken  on  it  and  if 
there  is  not  time  to  make  a full  sized  skirt  the  children  may  be  able  to 
see  the  relation  between  the  small  and  the  large  size.  This  lesson  should  he 
so  thoroughly  given  that  each  child  can  make  one  for  herself  at  home.  A 
very  profitable  result  will  follow  this  subject  if  the  class  will  carefully  cal- 
culate the  amount  of  material  for  a full  sized  skirt  and  also  decide  the 
amount  of  bias  or  straight  material  needed  for  a ruffle  for  it.  They  should 
estimate  the  cost  of  the  skirt  finished  in  various  ways  (ruffles,  embroidery, 
lace,  tucks).  To  this  may  be  added  the  expense  of  laundering  with  com- 
parisons of  the  difference  between  a plain  or  an  elaborate  garment  so  that 
the  economics  of  dress  may  be  brought  out.  Each  pupil  should  decide  upon 
the  way  she  wishes  to  make  her  skirt.  It  will  be  well  also  for  the  teacher 
from  this  lesson  on  to  give  frequent  opportunities  to  the  class  to  design, 
measure  and  cut  various  garments  that  they  may  gradually  gain  a good 
foundation  for  later  drafting  and  garment  making.  (See  Drafting  in  the  Notes 
for  Teachers.)  When  the  class  is  too  inexperienced  to  make  button-holes 
in  the  skirt  band,  they  can  sew  on  tapes  for  strings  instead.  (See  No.  33.) 


TRUE  BIAS. 

MATERIALS  FOR  PRACTICE. 

Kindergarten  or  Manila  Paper,  5x2%  Inches. 

Application. — Bias  ruffle  on  skirt,  bias  facing  on  petticoat,  a gusset, 
and  folds  for  trimming. 

Use. — For  folds,  facings  and  bindings. 

Fitness. — It  stretches  more  than  material  cut  on  the  straight  and  can 
be  smoothly  fitted  into  places  where  straight  material  would  have  to  be 
puckered. 

Rule. — To  cut  a true  bias  is  to  evenly  sever  both  warp  and  woof  threads. 
The  width  of  the  material  is  laid  down  the  length  of  the  selvage  and  the 
cut  is  made  through  the  slanting  fold.  In  finding  a perfect  square,  a true 
bias  is  found  in  the  diagonal  fold.  (See  Fig.  16.)  It  may  be  noticed  in 
folding  that  the  warp  threads  are  laid  on  a line  with  the  woof  threads.  Any 
deviation  from  this  will  keep  the  bias  from  being  true.  In  buying  material 
on  the  bias,  the  end  is  folded  over,  the  true  bias  found  and  the  diagonal 
fold  cut  through.  The  measuring  for  the  quantity  required  is  then  made 
first  along  one  selvage  and  then  along  the  other.  A fold  is  made  from  one 
selvage  to  the  other,  and  the  cut  is  made  through  this  fold.  As  greater 
length  is  obtained  along  the  bias  strip  than  along  the  selvage  an  equal  loss 
will  be  shown  in  the  width  of  the  strip;  about  one-third  is  thus  gained  in 
one  way  and  lost  in  the  other.  This  must  be  remembered  in  calculating 
the  amount  of  material  required.  Material  bought  on  the  straight  will  have 
to  be  folded  in  the  same  way  to  obtain  the  bias.  In  calculating  for  the 
strips,  allow  one-third  more  along  the  selvage  than  the  required  width  of 
the  bias,  measure  along  the  selvage  and  chalk  across.  If  a number  of  strips 
are  needed,  measure  four  at  a time  and  cut  afterwards  into  halves  and 


58 


A SEWING  COURSE 


quarters,  or  fold  the  strips  carefully  one  over  the  other  and  cut  through 
the  folds.  The  triangle  left  at  either  end  may  be  utilized  in  some  materials. 
(See  bias  ruffle.) 

A gusset  is,  in  its  usual  form,  a triangle  with  a true  bias  at  the  base. 
The  stretching  of  the  bias  helps  to  make  it  fit  and  the  triangle  gores  are 
at  the  end  of  the  seam. 

Care  must  be  taken  in  piecing  bias  strips,  that  the  warp  or  woof  threads 
in  all  the  strips  run  the  same  way,  or  the  joining  will  show.  When  prop- 
erly adjusted  the  two  will  form  a right  angle.  In  uniting  bias  pieces,  the 
edges  at  either  end  of  the  two  strips,  as  they  are  laid  face  to  face,  must  over- 
lap the  width  of  the  seam,  so  that  the  top  of  the  strip  will  be  even  after  the 
seam  is  taken. 

Practice. — Take  paper  5x2%  inches.  Fold  the  narrow  side  that  it 
may  exactly  meet  the  long,  press  it  over  into  a triangle  and  cut  through 
the  fold.  In  order  to  compare  the  relation  of  measurement  on  the  selvage 
to  that  through  the  bias  strips  take  the  larger  piece  of  paper,  measure  one 
inch  on  each  side  and  rule  a line  across.  Now  measure  it  all  into  one-inch 
wide  bias  pieces  by  placing  the  measure  at  right  angles  with  the  bias  cut. 
Put  a dot  at  each  inch  at  the  top  and  the  bottom  of  the  paper  to  the  end 
of  the  strip.  Rule  lines  diagonally  across  through  the  dots. 

BIAS  RUFFLE 

MATERIALS  FOR  PRACTICE. 

Triangle  of  Fine  Checked  Gingham,  Cotton,  No.  80-100.  Needle,  10-11. 
6 Inches  on  Straight  Sides. 

Cord  6 Inches. 

Application. — Trimming  for  underclothing  or  dolls  ’ clothes. 

This  exercise  is  to  show  the  uniting  and  hemming  of  bias  pieces,  and 
also  the  economizing  of  material  in  the  utilization  of  a triangle. 

Practice. — Take  a triangle  of  checked  gingham  the  straight  sides  of 
which  are  six  inches.  Fold  back  the  triangle  so  it  comes  one-half  an  inch 
below  the  base  and  cut  through  the  fold.  Cut  the  base  into  two  equal  parts. 
A bias  piece  may  then  be  joined  with  a fine  running  stitch  to  each  side  of 
the  triangle,  matching  the  pattern  if  there  is  any.  Allow  the  apex  of  the 
triangle  to  extend  as  far  beyond  the  seams  as  the  matching  of  the  pattern  will 
allow.  A narrow  hem  should  be  made  on  the  bottom  of  the  bias  strip  thus 
formed.  The  top  may  be  turned  over  a cord  and  a casing  run  in,  being 
careful  not  to  catch  any  stitch  in  the  cord.  Draw  the  ruffle  up  and  put 
a knot  in  each  end  of  the  cord  so  it  will  not  slip  through  the  casing. 
If  a ruffle  is  to  be  placed  on  a garment,  that  will  take  the  place  of  practice. 

Suggestion. — Every  effort  should  be  made  to  have  classes  understand 
the  relation  of  the  gain  in  length  to  the  loss  in  width  in  the  bias.  It  is  well 
to  have  problems  presented  which  will  deal  with  the  purchase  of  material 
and  the  calculations  of  amounts  required  for  different  sized  bands  or  ruf- 
fles. For  instance,  how  much  bias  velvet,  twenty  inches  wide,  would  it 
require  for  bands  four  inches  deep  to  be  placed  on  a skirt  three  yards 
around?  Let  the  children  who  are  making  the  bias  ruffle  on  the  petticoat 
(see  suggestions  under  garment  bias)  decide  how  much  it  would  take  for 
this  little  skirt,  compare  straight  with  bias  ruffles,  and  also  let  them  cut 
paper  on  the  bias  to  represent  the  amount  of  material.  They  should  see 


BIAS  RUFFLE 


59 


the  difference  it  makes  if  the  triangles  at  either  end  cut  from  the  straight 
material  are  utilized.  The  classes  can  utilize  the  ruffle  for  trimming  dolls7 
clothing  or  for  larger  garments.  Practice  is  not  necessary  unless  the  pupils 
are  very  inexperienced. 


Nos.  20,  21  and  22.  SEAMS. 

Use. — A means  of  fastening  together  two  or  more  pieces  of  material. 

Varieties. — Single  and  double  seams.  For  the  former  the  following 
stitches  are  used,  the  running;  stitching;  backstitching  and  varieties  of 
these;  overhanding,  and  fine-drawing.  For  the  latter,  felling,  French-seam, 
overhand  and  fell  and  counter-hemming.  Double  sewing  is  used  in  seams 
where  greater  strength  or  beauty  is  required  than  the  single  stitch  can  give. 
In  dressmaking  and  tailoring  there  are  many  special  names  used  such  as 
lapped,  welt,  strapped  and  slot  seams;  these  are,  however,  but  varieties 
of  those  mentioned  above. 

Practice. — For  the  first  practice  it  is  sometimes  better  to  use  material 
on  the  straight  of  the  goods  and  colored  thread,  as  the  work  is  easier  on 
the  straight  and  the  imperfections  will  show  clearly.  Seams  in  such  gar- 
ments as  chemises,  petticoats,  nightgowns  and  drawers  are,  however,  usually 
on  the  bias  or  a straight  piece  is  united  to  a bias.  It  is  well  for  inexperi- 
enced pupils  to  practice  on  a piece  of  cloth  before  applying  on  a garment, 
but  the  moment  they  can  do  fair  work  they  should  begin  on  a real  garment, 
small  or  full  size.  (See  Application  of  Stitches  No.  23.)  In  many  schools 
jthe  first  practice  is  given  on  coarse,  unbleached  muslin,  but  it  is  so  much 
more  difficult  to  work  on  than  on  a good  quality  of  white  muslin  that  it  is 
unnecessarily  discouraging  to  the  pupils. 

Suggestion. — Garments  in  which  various  single  and  double  seams  are 
used  should  be  brought  to  the  class  and  their  form  and  adaptability  dis- 
cussed. The  teacher  can  use  her  judgment  in  discussing  or  practicing  the 
various  forms  of  seams  used  in  dressmaking  and  tailoring. 


FELLING. 

MATERIALS  FOR  PRACTICE. 

White  Muslin,  Cotton,  No.  80-100.  Needle,  No.  10-11. 

4x3  Inches. 

Application. — Pillowcases  and  underclothing. 

Use. — To  join  two  straight  or  two  bias  pieces  of  material,  so  that  the 
raw  edges  will  be  completely  hidden,  and  a strong  seam  will  result.  It  is 
used  for  seams  in  underclothing,  pillowcases  and  laundry  bags. 

Fitness. — Double  sewing  makes  it  strong;  the  turned-in  edges  keep  it 
from  fraying,  and  the  effect  is  neat  and  pleasing. 

Rule. — This  seam  is  to  be  twice  sewed  and  may  be  made  on  straight 
or  bias  material.  Baste  together  the  edges  of  the  cloth,  having  placed  one  a 


60 


A SEWING  COURSE 


short  distance  below  the  other  (about  % of  an  inch  in  white  muslin).  The 
upper  edge  will  later  be  hemmed  down  over  the  short 
edge.  (Fig.  17.)  Running  and  backstitching  No.  2 
or  fine  running  may  be  used  for  the  first  sewing  of 
the  seam,  as  its  wrong  side  is  attractive.  The  first 
sewing  of  a fell  may  be  also  stitching  or  overhanding. 
The  difficulty  with  stitching  is  the  need  to  do  the  work 
on  the  wrong  side  of  the  seam  so  that  when  com- 
pleted the  right  side  of  the  stitching  stitch  may  show. 
(For  overhand  and  fell  see  below.) 

Make  the  seam  as  narrow  as  possible  for  strength. 
When  the  first  seam  is  completed,  take  out  the  basting 
stitches,  open  the  seam  flat,  and  turn  the  wide  edge 
of  the  material  over  the  narrow.  Hem  the  wide  edge 
carefully  down,  turning  in  the  raw  edge  with  the 
needle  as  the  work  proceeds.  (Fig.  17.)  The  fell 
seam  should  be  narrow  and  even,  and  lie  perfectly 
flat  on  both  sides  of  the  material.  A bias  fell  is  often 
required  in  underclothing.  It  is  made  in  the  same 

jpIG  17 the  fell#  way  as  the  straight.  Care,  however,  should  be  taken 

to  begin  the  sewing  at  the  wide  end  of  the  material 
on  account  of  the  fraying. 

Practice. — First  on  two  straight  pieces  and  then  on  a bias  seam.  Take 
white  muslin,  4x3  inches,  divide  it  into  two  gores,  as  described  in  the  practice 
piece  for  the  garment  bias.  Lay  one  bias  piece  against  the  other,  having  wide 
ends  to  wide  ends  and  narrow  to  narrow.  Proceed  as  by  rule,  using  the  run- 
ning and  backstitching  No.  2 for  the  seam.  Let  the  hemming-stitch,  used  for 
felling  down  the  wider  edge  show  distinctly  through  the  material,  so  that 
it  may  be  strong. 


FRENCH  SEAM. 

MATERIALS  FOR  PRACTICE. 

White  Muslin,  Cotton,  No.  80-100.  Needle,  No.  10-11. 

4x3  Inches. 

Use. — For  seams  in  lace,  embroidery,  wash  goods  that  are  not  lined  and 
for  underclothing.  It  is  used  for  underwaists  and  underclothing  in  prefer- 
ence to  the  fell,  as  it  is  more  satisfactory  in  curved  seams. 

Fitness. — It  makes  a neat  appearance,  as  it  shows  but  one  line  of  sewing 
on  the  right  side;  it  launders  well,  and  for  thin  wash  material  has  a better 
effect  than  the  raw  edges  showing  through  the  material. 

Rule. — The  seam  is  to  be  twice  sewed.  It  may  be  made  on  straight  or 
bias  material.  Lay  the  two  edges  to  be  united  exactly  together  on  what  will 
be  the  right  side  of  the  garment,  and  baste  neatly  near  the  edge.  Use  a fine 
running  stitch  for  the  first  sewing  and  make  the  seam  as  narrow  as  possible 


FRENCH  SEAM 


61 


for  strength.  Trim  the  edges  neat- 
ly, and  lay  the  seam  open  with  the 
finger  nail.  Turn  the  seam  inside 
of  the  muslin,  and  make  a new 
seam  over  the  other  on  what  will 
be  the  wrong  side  of  the  garment. 
Various  stitches  may  be  used  for 
the  second  sewing  according  to  the  strength  desired.  The  second  sewing  must 
cover  the  raw  edges  of  the  first  seam.  (Fig.  18.)  The  seam  should  be  as 
narrow  and  neat  as  possible. 

Practice. — Take  white  muslin  4x3  inches.  Cut  it  into  two  gores  as  de- 
scribed in  the  practice  piece  for  garment  bias.  Lay  one  bias  piece  against 
the  other,  having  wide  end  to  wide  end,  and  narrow  to  narrow.  Proceed  as 
by  rule.  Begin  the  running  stitch  on  the  wide  ends  of  the  bias  pieces.  Let 
the  second  sewing  of  the  seam  be  done  with  running  and  backstitching  No.  1. 


OVERHAND  AND  FELL  AND  OTHER  SEAMS. 

MATERIALS  FOR  PRACTICE. 

White  Muslin,  Cotton,  No.  80-100.  Needle,  No.  10-11. 

4x3  Inches. 

Application. — Undergarments,  ball  covers  and  sails. 

Use. — In  seams  where  great  strength  and  neatness  are  required. 

Fitness. — The  overhand  stitch  for  the  first  sewing  followed  by  the  hem- 
ming stitch  in  the  fell  makes  a very  durable  seam. 

Rule. — Take  the  two  pieces  to  be  joined,  turn  a small  fold  on  the  raw 
edge  of  each  piece — the  turn  on  one  piece  should  be  twice  as  deep  as  the 
one  on  the  other.  Overhand  the  two  pieces  together,  having  the  narrow  fold 
toward  the  worker.  Overhand  the  seams  according  to  the  rule  for  overhand- 
ing, press  open  the  seam,  turn  the  wide  edge  over  the  narrow  and  hem  it  down. 
The  seam  should  be  flat. 

Practice. — See  gusset  or  as  in  fell  and  French  seam. 

Fine  drawing  (see  description)  is  used  to  hold  two  selvages  or  two  pieces 
of  heavy  cloth  in  a seam.  It  is  the  stitch  used  in  sewing  together  the  seams 
in  the  leather  or  felt  coverings  of  balls. 

Counter-hemming  is  used  in  seams  where  the  materials  are  made  to  over- 
lap a little  and  are  then  hemmed  on  both  sides.  Sails  for  toy  boats  can  be 
made  of  wide  cotton  or  linen  tape  counter-hemmed  together;  when  made  thus 
they  look  much  more  like  real  sails  than  when  the  forms  of  mainsail  and  jib 
are  merely  cut  from  muslin  and  hemmed  around  the  edge.  If  boys  are  in 
the  classes,  they  can  readily  whittle  boats  and  use  the  sails  on  them.  The 
children  should  first  carefully  baste  the  strips  together  before  counter-hem- 
ming them.  The  raw  edges  above  and  below  must  also  be  turned  in  and 
hemmed  when  the  sail  has  been  sewed  together.  Talks  on  boats  and  sails, 
and  illustrations  of  sail-cloth,  sail-needles  and  thimbles  all  add  greatly  to  the 
interest. 


62 


A SEWING  COURSE 


No.  23.  APPLICATION  OF  STITCHES. 

The  following  suggestions  for  applying  the  stitches  are  given  to  help 
teachers  to  plan  courses  of  work.  Real  articles  and  garments  are  mentioned 
in  the  hope  that  these  will  be  used  in  place  of  models  of  stitches.  These  vari- 
ous things  can  be  made  by  the  children  while  they  are  learning  the  stitches 
and  with  the  minimum  of  practice.  It  is  more  important  that  they  learn 
to  be  constructive  along  useful  lines,  with  a few  stitches,  than  that  they 
should  continue  to  learn  new  stitches  only.  It  is  not  necessary  for  the  teacher 
to  make  every  one  of  these  articles,  but  she  should  make  some  of  them  and 
place  them  in  an  interleaved  copy  of  the  Sewing  Course.  They  will  thus  be 
an  incentive  to  the  pupils.  Each  teacher,  however,  should  herself  make 
any  article  or  garment  which  she  plans  to  give  her  pupils.  The  current 
magazines  dealing  with  home  problems  will  also  help  her  in  choosing  her 
course  of  instruction,  for  they  give  description  of  the  way  to  construct  many 
useful  as  well  as  fancy  articles.  As  the  manner  of  making  and  the  decoration 
changes  continually,  according  to  prevailing  fashion,  only  a few  articles 
which  are  not  apt  to  be  thus  affected  are  described  in  detail  in  the  following 
pages.  Patterns  of  articles  and  clothing  in  large  and  small  sizes  can  easily 
be  obtained. 

BUTTON  BAG. 

MATERIALS  FOR  PRACTICE. 

Gingham  or  other  Cotton  Material.  Cotton,  No.  60-80.  Needle,  9-10. 

12x4  Inches. 

Take  a piece  of  material  12x4  inches.  Fold  it  together  with  the  wrong 
side  out  so  that  the  two  ends  exactly  meet.  Stitch  a narrow  seam  along  each 
side  beginning  at  the  bottom  of  the  bag  and  continuing  until  within  2% 
inches  of  the  top.  Overcast  raw  edges  of  the  seams.  The  rest  of  the  way  to 
the  top  of  the  bag  hem  the  four  sides  separately  in  narrow  hems.  Turn  the 
tops  down  to  the  side  seams  and  hem  neatly.  Run  a casing  in  % of  an  inch 
above  the  hem.  Put  a narrow  linen  tape  through  the  casing,  beginning  at 
the  hemmed  edges  on  one  side.  Draw  the  ends  of  the  tape  out  on  one  side 
and  fasten  together  by  turning  in  the  raw  edges,  lapping  the  ends  one  over 
the  other  and  overhanding  the  parts  together.  Put  a second  tape  in  from 
the  opposite  side  and  complete  it  as  the  other.  The  bag  is  drawn  together 
by  pulling  on  the  two  strings  at  once.  Another  way  to  finish  the  bag  is  to 
put  a series  of  rings  on  the  inside  of  the  hem  and  run  the  tape  through  these 
in  place  of  a casing. 

Suggestion. — A lesson  on  the  bag  should  be  supplemented  by  a discus- 
sion of  various  sorts  of  bags  and  their  methods  of  construction.  Where  bags 
are  needed  for  school  purposes  the  children  can  supply  that  need.  Boys 
may  make  marble  bags  of  galatea,  while  the  girls  are  making  button  or  work- 
bags  of  other  materials.  Variations  in  the  way  of  completing  the  bags  will 
add  interest. 


APPLICATION  OF  STITCHES 


63 


APRONS  (Small  size). 

No.  1.  With  Casing. 

No.  2.  With  Band. 

MATERIALS  FOR  PRACTICE. 

. ( 7x8  In.  Cotton,  No.  60-100.  Needle,  No.  9-11. 
Gingham  or  Muslin  (1)  j 16xl  Jn 

Gingham  or  Muslin  C 7x8  In. 

Gingham  or  Muslin  (2)  -j  6%xl  In. 

Gingham  or  Muslin  (.6x1%  In.  (2  pieces.) 

A very  simple  apron  can  be  made  by  taking  gingham  or  muslin  7x8 
inches.  A narrow  hem  can  be  made  on  each  side  along  the  7-inch  side  of 
the  material.  An  inch  hem  can  be  turned  up  at  the  bottom.  In  place  of 
putting  on  a band  a % inch  hem  can  be  turned  down  at  the  top  to  form  a 
casing.  A tape  (16  inches  long)  can  be  used  or  a strip  of  the  same  material 
can  have  a narrow  hem  on  each  long  side  and  a % inch  hem  across  each  end 
and  be  slipped  through  the  casing  to  draw  the  fullness  together  around  the 
waist.  Hemming  alone  is  required  in  this  practice  piece. 

If  an  apron  on  a band  is  desired  a piece  of  gingham  7x8  inches  can 
be  hemmed  on  each  7-inch  side  and  at  the  bottom  as  above.  The  top  can  be 
gathered  and  stroked  (see  Gathering  and  Stroking)  and  the  band  put  on  by 
stitching  or  setting-in  gathers  (see  Putting  on  a Band).  The  apron  may  be 
drawn  in  to  four  inches  at  the  top.  The  belt  will  thus  extend  one  inch  beyond 
the  apron  on  each  side  and  these  sides  of  the  belt  can  be  overhanded  together  to 
the  ends.  Two  strips,  6x1%  inches,  can  be  finished  for  strings  by  placing 
narrow  hems  along  each  side  and  a deeper  hem  at  the  bottom.  These  strings 
can  be  gathered  at  the  unhemmed  ends  and  joined  to  the  end  of  the  belt  by 
stitching,  or  setting-in  gathers. 

Other  kinds  of  aprons  with  bibs,  straps  and  pockets  should  be  discussed 
by  the  classes.  Aprons  are  frequently  indicative  of  certain  tasks,  viz.,  nurses, 
waitresses,  butchers,  cooks  and  blacksmiths.  This  subject  may  be  made  inter- 
esting to  a class. 

If  a full  sized  apron  extending  well  to  the  back  is  to  be  made,  some  of  the 
material  must  be  cut  away  from  the  center  of  the  front  before  the  gathering 
thread  is  put  in,  or  it  will  bulge  just  below  the  band.  About  one  inch  in 
the  center  of  the  front  may  be  sloped  to  nothing  at  each  side. 

The  following  articles  also  are  described  in  the  Sewing  Course : 

Petticoats  (small  size).  See  No.  19. 

Travelling  Case.  See  No.  43, 

Trunk  Tray-cover.  See  No.  43. 

Hemstitched  Handkerchiefs  (small  size).  See  No.  46. 

Apron  of  Fine  Muslin.  See  No.  48. 

Additional  suggestions  of  articles  applying  useful  stitches: 

Sheets  (all  hemming) ; pillow-cases  (overhanding  or  the  fell,  overcast- 
ing, hemming)  ; table  linen  (napery  stitch,  and  marking  by  (1)  linen  em- 
broidery, (2)  cross  stitch  or  (3)  chain  stitch)  ; bags  (hemming,  overhanding, 
overcasting,  fancy  stitches,  binding  with  braid  and  buttonhole  stitch  or  eyelet)  ; 
work-bag  with  divisions;  shoe  bag;  school  bag;  laundry  bag;  clothes-pin  bag; 


64 


A SEWING  COURSE 


clothes  bag;  and  collar  and  cuff  bag  with  stiff  bottom.  There  are  an  endless 
number  of  things  which  may  apply  the  plain  stitches,  the  fancy  stitches  or 
the  constructive  principles.  These  can  be  chosen  according  to  the  needs 
of  the  classes.  The  following  useful  exercises  are  all  being  used  in  the 
schools:  Fittings  for  the  work-basket  or  work-bag,  such  as  needlecases, 
emery  holders,  scissor  shields,  thimble  cases  and  pin-cushions;  furnishing  for 
doll’s  houses,  such  as  muslin  curtains,  portieres,  cushion,  couch,  bureau,  and 
stand  covers;  cases,  such  as  travelling,  pin,  toilet,  jewelry,  handkerchief  and 
card  cases ; articles  for  the  school,  such  as  class  and  national  flags,  badges,  cos- 
tumes for  dramatic  work,  curtains  for  book-cases,  bags  for  gymnasium  shoes, 
towels,  aprons,  caps  and  sleeves  for  cooking;  work  aprons  for  woodwork, 
historic  dress  in  large  or  small  size ; articles  for  the  home,  such  as  the  pads  for 
bureau  drawers,  pin-cushions,  whiskbroom  holders,  waste  basket  of  paste- 
board and  denim,  bureau  scarfs  and  sofa  pillows ; the  use  of  decorative  stitches 
in  book-covers,  portfolios,  corners  of  writing  pads,  note-books  for  sewing,  hem- 
stitched, embroidered  or  marked  towels,  napkins,  doilies,  table  runners  and 
squares,  collars  and  cuffs,  trimmings  for  cotton  or  woolen  gowns  and  for 
linen  shirtwaists,  lingerie  hats,  neckties  and  belts;  underclothing,  simple 
or  elaborate,  such  as  the  single  piece  underwaist  or  nightgown;  children’s 
clothing,  such  as  sunbonnet,  caps,  guimpes,  or  simple  one-piece  aprons  or 
dresses. 

Underclothing  and  outer  clothing  for  dolls  offer  excellent  work  in  the 
fifth  or  even  the  sixth  grade.  Through  the  numerous  articles  which  can  be 
made,  all  the  stitches  already  learned  can  be  utilized  and  new  principles  such 
as  plackets,  putting  on  bands,  sewing  on  tape,  tucking,  fancy  stitches  and 
embroidery  can  be  added.  If  bought  patterns  are  used  at  first  they  should 
soon  give  way  to  patterns  made  by  the  children.  (See  Drafting.) 


APPLICATION 


OF  STITCHES 


65 


APPLICATION  OF  STITCHES. 

Space  for  the  description  of  any  special  article  planned  by  the  teacher. 


BUTTONHOLES,  EYELETS,  ETC. 


67 


Nos.  24,  25,  26,  27  and  28.  BUTTONHOLES,  EYELETS, 
LOOPS,  SEWING  ON  BUTTONS,  and 
BLANKET  STITCH. 

MATERIALS  FOR  PRACTICE. 

White  Muslin,  White  Cotton,  No.  60.  Needle,  No.  9. 

4x4  Inches  (two  pieces). 

Small  pearl  button. 

Application. — On  aprons,  bags,  cases,  doll’s  clothes  and  full  sized  gar- 
ments. 

Use. — To  fasten  together  parts  of  clothing  or  to  give  a strong  edge  to 
material. 

Fitness. — The  character  of  the  buttonhole  stitch  is  such  that  both  dura- 
bility and  beauty  may  be  secured  in  the  buttonhole. 

Rule. — Buttonholes  are  worked  on  the  right  side  of  double  material. 
The  work  may  be  done  from  right  to  left,  or  from  left  to  right,  the  only 
difference  is  the  manner  of  making  the  purl  (the  twist  given  to  the  thread 
about  the  needle).  The  thread  must  be  turned  about  the  needle  in  the  direc- 
tion in  which  the  work  is  advancing.  (Fig.  19.)  The  slits  are  cut  at  inter- 
vals about  a quarter  of  an  inch  from  the  edge  of  the  cloth;  for  flat  buttons 
they  should  be  cut  the  length  of  the  diameter  of  the  button,  for  round  but- 
tons, somewhat  longer,  and  always  even  to  the  thread.  Begin  work  at  the 
lower  end  of  the  slit  (farthest  from  the  edge  of  the  cloth).  Hold  the  button- 
hole slanting  across  the  first  finger  of  the  left  hand,  with  the  edge  of  the 
cloth  toward  the  outside  of  the  hand.  Make  two  or  more  stitches  across  the 
lower  end,  if  a bar  of  buttonhole  stitches  is  to  complete  the  buttonhole;  this 
crossbar  is  to  keep  the  sides  of  the  buttonhole  from  stretching. 

The  following  description  is  from  right  to  left,  and  is  a usual  method 
of  making  buttonholes  in  cotton  material:  First  strand  the  buttonhole  by 
taking  one  or  more  long  stitches  to  the  extreme  end  of  the  slit  and  back  again 
on  the  opposite  side;  the  buttonhole  stitches  will  cover  these,  and  will  be 
strengthened  by  them.  As  double  material  is  used  for  buttonholes,  the  two 
raw  edges  should  be  lightly  overcast  together,  over  the  stranding;  this  over- 
casting must  not  be  deep,  or  it  will  show.  After  finishing  the  overcasting 
on  both  sides,  bring  the  needle  to  the  right  side  close  to  the  edge  of  the  slit 
at  the  end  of  the  buttonhole  furthest  from  the  edge  of  the  cloth.  Take  the 


rt'TT 


Fig.  19. — Buttonhole  Stitch. 


Fig.  20. — Buttonhole. 


6$ 


A SEWING  COURSE 


first  buttonhole  stitch  by  putting  the  needle  into  the  slit  close  to  the  end  and 
bring  it  out  far  enough  from  the  edge  of  the  slit  to  avoid  danger  from  ravel- 
ing. In  muslin  four  to  six  threads  above  the  edge  will  be  sufficient.  Before 
pulling  the  thread  through,  put  the  thread  from  the  eye  around  from  right 
to  left  under  the  point  of  the  needle  (Fig.  19)  (if  it  be  brought  from  left  to 
right  it  will  make  the  blanket  stitch,  which  does  not  make  a strong  finish  needed 
in  buttonholes).  The  needle  is  drawn  away  from  the  worker  so  that  the 
purl  comes  on  the  edge  of  the  slit.  Make  the  stitches  upright,  of  the  same 
depth,  and  about  one  thread  of  material  between  each  stitch,  to  allow  room 
for  the  purl.  When  the  opposite  end  of  the  slit  is  reached,  turn  to  the  other 
edge  by  making  a fan  of  stitches.  (Fig.  20.)  Let  the  purl  be  close  together 
across  the  cut,  to  make  it  strong,  as  the  shank  of  the  button  wTill  rest  there. 
The  outer  part  of  the  stitches  will  be  stretched  into  a fan.  The  round  end 
of  the  buttonholes  takes  usually  from  seven  to  nine  stitches.  It  is  some- 
times made  without  the  purl  and  consists  of  a close  overhand  stitch  like 
eyelet  No.  3.  When  the  lower  end  of  the  buttonhole  has  been  reached,  the 
fan  can  be  made  around  this  end,  or  if  this  end  is  to  be  barred,  put  the 
needle  into  the  purl  on  the  opposite  side,  and  draw  the  two  sides  of  the  slit 
together;  take  two  or  three  stitches  if  it  needs  to  be  very  strong;  bring  the 
needle  out  beyond  the  slit  on  a line  with  the  depth  of  stitches  just  completed 
and  make  a close  bar  of  buttonhole  stitches  across.  (Fig.  20.)  The  ends  of 
the  bar  should  be  on  a line  with  the  outside  of  the  buttonhole  stitches.  Some 
needlewomen  make  the  bar  of  the  blanket  stitches;  it  is  not  quite  so  strong 
made  in  this  manner.  The  stitch  in  the  bar  that  comes  over  the  first  stitch 
made  in  the  buttonhole  must  pass  through  its  loop,  so  as  to  hold  it  from  slip- 
ping ; fasten  all  securely. 

Take  a long  enough  thread  to  complete  the  buttonhole  stitches,  as  it  is 
yery  difficult  to  join  the  thread  after  the  purl  has  been  started;  a thread 
about  % of  a yard  long  is  enough  for  ordinary  buttonholes.  Coarse  thread 
may  be  used  for  coarse  material;  but  for  ordinary  muslin  No.  60  is  coarse 
enough.  Use  as  fine  a needle  as  possible.  If  a thread  must  be  taken  in  the 
midst  of  the  buttonhole  put  the  old  thread  through  the  slit  and  fasten  well 
on  the  other  side.  Insert  the  new  thread  through  the  last  purl  and  continue 
as  before.  Buttonholes  in  cotton  material  may  be  rounded  at  both  ends, 
barred  at  both  ends,  or  the  end  where  the  shank  of  the  button  will  come  may 
be  rounded  and  the  other  end  barred. 

When  making  buttonholes  on  wool  material  the  method  is  not  essen- 
tially different,  though  in  rounding  the  ends  more  stitches  are  often  taken 
in  the  fan.  As  each  stitch  is  made,  it  may  be  pulled  up  tightly  that  great 
strength  may  be  gained.  D.  silk  is  generally  used.  If  the  material  is  thick 
or  if  it  frays  easily,  it  is  well  to  put  a double  line  of  little  running  or  machine 
stitches  where  the  buttonhole  is  to  be  and  cut  the  slit  between  these  stitches. 
Glue  is  also  used  to  keep  the  material  in  place  before  cutting.  Little  plates 
can  be  purchased  with  the  form  of  the  buttonhole  cut  in  them;  by  putting 
the  glue  through  such  a hole  there  is  no  danger  of  it  spreading  too  far  and 
injuring  the  fabric.  In  heavy  cloth  a wedge-shaped  piece  is  usually  cut  in 
the  end  of  the  slit  where  the  shank  of  the  button  will  come,  or  an  eyelet  hole 
is  pierced  instead.  (Fig.  21.)  It  is  also  cutomary  in  heavy  material  to 
work  the  buttonhole  stitch  over  a cord  as  the  stranding  of  the  buttonhole 
twist  is  not  sufficiently  strong.  When  completing  the  buttonhole  in  wool 
material  it  is  well  to  take  several  stitches  across  the  end  and  make  the  button- 
hole stitch  over  them  to  insure  strength. 


BUTTONHOLES,  EYELETS,  ETC 


69 


The  cutting  of  the  buttonholes  is  always  extremely  important  as  the 
final  appearance  is  greatly  dependent  on  it.  Buttonhole  scissors,  set  to  the 
right  length,  aid  in  obtaining  regularity,  but  much  depends  on  the  worker, 
who  must  always  cut  the  material  to  a thread,  begin  each  cut  at  the  same 
distance  from  the  edge  of  the  cloth,  usually  about  *4  of  an  inch,  and  have  the 
slits  the  same  distance  apart.  Every  point  must  be  carefully  measured  and 
indicated  before  cutting.  Haphazard  work  is  almost  always  fatal  to  success. 

Practice. — The  practice  piece  contains  buttonholes,  eyelets,  loops,  sew- 
ing on  a button,  and  the  blanket  stitch.  Take  two  pieces  of  muslin  4x4  inches. 
Turn  in  all  the  edges  neatly,  and  baste  the  two  pieces  carefully  together ; be 
sure  to  have  warp  to  warp,  and  woof  to  woof  in  the  two  pieces  of  muslin. 
Have  a small  pearl  button,  and  cut  a slit  in  one  corner  of  the  practice  piece  the 
size  for  it  and  as  near  the  edge  as  a buttonhole  would  come.  Make  the  button- 
hole according  to  directions  and  round  both  ends.  Diagonally  cut  another 
slit  the  same  size,  and  make  this  buttonhole  round  on  one  end  and  barred  on 
the  other.  In  another  corner  put  three  eyelet  holes,  run  them  toward  the 
center  of  the  cloth,  and  graduate  the  size,  that  the  center  one  may  be  the 
smallest.  (Fig.  21.)  In  the  fourth  corner  make  three  small  loops,  gradu- 
ating their  size  to  balance  the  eyelets.  In  the  middle  of  one  side  make  a 
large  loop,  and  sew  the  button  in  the  middle  of  the  cloth.  The  practice 
piece  can  be  finished  around  the  edge  by  the  blanket  stitch.  The  directions 
for  eyelets  loops,  sewing  on  buttons,  and  the  blanket  stitch  will  be  found 
below. 

Suggestion. — Good  buttonholes  require  fine  work.  They  take  much  pa- 
tience to  learn.  The  work  is  not  adapted  to  the  lower  grades  of  the  school. 
Practice  in  the  form  of  the  stitch  and  also  in  the  making  of  the  entire  button- 
hole may  be  given  on  canvas  if  it  is  found  to  be  an  aid.  Besides  the  actual 
making  of  a successful  buttonhole,  the  classes  should  have  practice  in  spacing 
and  cutting  buttonholes  in  various  materials.  It  is  also  well  for  them  to  have 
practice  in  making  buttonholes  in  cashmere  or  other  light  wool  goods.  Let 
the  piece  for  such  practice  be  prepared  with  a lining  as  would  be  the  case 
in  a regular  waist.  Paper  may  be  utilized  for  spacing  and  cutting  button- 
holes where  woven  material  cannot  be  provided.  The  practice  piece  given 
above  is  for  teachers.  It  is  too  elaborate  for  most  pupils  even  in  the  High 
School.  They  should  only  practice  buttonholes  when  they  wish  to  use  one 
for  the  necessity  of  direct  use  is  a great  incentive  in  overcoming  the  difficul- 
ties. It  is  better  also  for  them  to  practice  the  many  varieties  on  separate 
pieces  of  cloth. 


EYELETS. 

Application. — A bag  with  eyelets  to  pass  tape  through  and  draw  the 
opening  together. 

Use. — A hole  pierced  in  material  and  made  strong  by  stitches  around 
the  edge  of  it,  through  which  a tape  or  lacing-cord  may  pass. 

Rule. — Pierce  the  material  with  a stiletto  until  the  hole  will  allow  the 
lacing-cord  to  pass  through  easily.  If  a large  hole  is  needed  some  of  the 
* pushed-back  material  on  the  wrong  side  must  be  cut  away.  For  added 
strength  the  holes  may  be  outlined  with  running  stitches.  The  work  over 


70 


A SEWING  COURSE 


the  edge  may  be  done  in  different  ways.  The  buttonhole  or  the  blanket 
stitch  may  either  be  used,  or  the  hole  may  be  worked  over  and  over  with  a 
close  overhand  stitch. 

The  buttonhole  stitch  with  the  purl  turned  toward 
the  hole  makes  the  strongest  eyelet.  (Fig.  21,  Eyelet 
No.  2.)  The  upright  stitches  must  be  evenly  spread 
apart  as  the  purl  is  crowded  into  a smaller  space.  The 
needle  is  inserted  first  into  the  hole,  and  then  into  the 
material  and  the  purl  is  drawn  to  the  edge  of  the  hole. 
The  blanket  stitch  is  sometimes  used  for  the  buttonhole 
stitch  in  this  eyelet. 

The  close  overhand  is  also  strong.  It  is  the  method 
usually  adopted  where  a silk  lacing  is  to  be  used.  (Fig. 
Fig.  21. — Eyelets  21,  Eyelet  No.  3.)  The  work  is  done  very  close  together, 

Nos.  1,  2 and  3.  and  the  stitches  are  drawn  tightly. 

Buttonhole.  The  buttonhole  stitch  with  the  purl  turned  away 

from  the  hole  makes  the  most  attractive  looking  eyelet.  (Fig.  21,  Eyelet  No. 
1.)  The  needle  is  inserted  first  into  the  material  and  then  brought  through 
the  hole  to  the  surface  and  the  purl  is  drawn  into  place  beyond  the  hole. 
The  work  proceeds  from  right  to  left  as  in  buttonholes.  The  upright  stitches 
must  lie  close  together  to  cover  the  raw  edges  and  make  the  eyelet  wear  well. 
The  work  is  fastened  on  the  wrong  side  by  a couple  of  double  stitches. 

The  depth  of  the  stitch  in  all  eyelets  depends  on  the  material  on  which 
it  is  made.  The  object  is  to  protect  the  hole;  the  stitch  must  therefore  be 
close  and  deep  enough  to  accomplish  this.  The  stiletto  can  be  of  use  during 
the  progress  of  the  work  to  keep  the  hole  round. 

Practice. — Three  varieties  of  eyelets  are  to  be  worked  on  the  buttonhole 
practice  piece. 

No.  1. — Buttonhole  stitch  with  the  purl  turned  outward. 

No.  2. — Buttonhole  stitch  with  the  purl  turned  inward. 

No.  3. — A close  over-and-over  stitch.  (See  Practice — Buttonholes.) 


LOOPS. 

Application. — On  a doll’s  dress  or  garment  in  place  of  a buttonhole  or  as 
a hanger  for  a bag  the  stitch  being  made  over  a brass  ring. 

Use. — Where  a metal  eye  would  not  be  attractive  in  certain  garments, 
a silk  loop  is  made  to  catch  the  hook.  Loops  are  also  used  to  take  the  place 
of  buttonholes  to  stay  the  end  of  a placket,  or  to  hold  two  folds  of  cloth 
together. 

Rule. — Determine  the  size  of  the  loop  necessary  for  the  hook  or  button 
and  the  place  it  should  occupy.  Fasten  the  thread  securely  without  a knot  if 
possible,  take  three  or  four  strands  of  stitches  back  and  forth  on  the  gar- 
ment, leaving  them  loose  enough  to  catch  the  hook  or  button.  Fasten  securely 
at  the  opposite  end  that  they  may  bear  the  strain  to  be  put  upon  them.  Make 
the  buttonhole  stitch  or  the  blanket  stitch  over  the  strands.  (See  Blanket 
Stitch.) 

Practice. — ( See  Practice — Buttonholes. ) 


SEWING  ON  BUTTONS 


71 


SEWING  ON  BUTTONS 

Application. — On  aprons,  garments  and  travelling  eases. 

Rule. — Buttons  with  four  holes  may  have  the  stitches  form  a cross  on 
the  face  and  two  diagonals  at  the  back,  or  may  have  two  parallel  stitches  on 
the  face  and  a cross  at  the  back.  The  cross  stitches  should  be  in  the  direc- 
tion of  the  warp  and  woof.  Use  double  cotton  and  fasten  it  securely  in  the 
right  side  of  the  material  directly  under  where  the  button  will  go.  It  is  well 
to  put  a pin  on  top  of  a flat  button  or  under  one  which  is  concave  and  to 
make  the  stitches  over  the  pin  so  that  the  button  will  not  be  fastened  down 
too  tight.  When  sufficient  stitches  have  been  taken  withdraw  the  pin  and 
pass  the  cotton  several  times  around  the  stitches  beneath  the  button  to  form 
a stem  or  shank.  This  protects  the  stitches  and  makes  room  for  the  button- 
hole or  loop.  When  the  button  is  sewed  down  tight,  it  is  apt  to  pull  off, 
bringing  a piece  of  the  band  with  it.  Fasten  off  directly  under  the  button 
or  on  the  wrong  side  in  one  of  the  diagonal  stitches.  The  wrong  side  should 
be  very  neat.  \ 

Buttons  with  two  holes  have  the  stitches  running  the  warp  way  of  the 
material.  Buttons  with  a shank  should  have  the  stitches  over  and  over  the 
shank  in  such  a way  that  the  rubbing  of  the  buttonhole  will  be  against  the 
shank  rather  than  against  the  stitches.  Cloth  buttons  often  are  made  with 
material  on  the  wrong  sides  in  place  of  a shank;  these  are  sewed  on  in  the 
same  way,  but  looser  than  a shank  button,  so  a stem  can  be  formed  by  wind- 
ing the  thread  around  the  stitches. 

Practice. — A four-holed  button  is  to  be  placed  in  the  middle  of  the  but- 
tonhole practice  piece.  (See  Practice — Buttonholes.) 

Suggestion. — The  sewing  on  of  buttons  may  be  taught  to  young  chil- 
dren. Let  them  practice  with  four-holed  buttons,  shoe-buttons  and  cloth  but- 
tons. With  older  classes,  practice  on  spacing  and  cutting  buttonholes  may 
be  accomplished  by  sewing  on  buttons  to  correspond.  In  light-weight  ma- 
terials a staytape  will  often  be  needed  between  the  lining  and  the  cloth  to 
hold  securely  the  buttons. 


BLANKET  STITCH  OR  FLAT  BUTTONHOLE 

STITCH. 

Application. — Canvas  napkin  rings,  mats  and  cases,  the  bottom  of  flan- 
nel skirts  and  jackets  and  in  embroidery  on  linen. 

Use. — For  finishing  raw  edges  in  place  of  overcasting.  It  is  also  used 
ornamentally  as  in  scallops  on  flannel  or  by  a network  of  stitches  over  a 
surface.  A neat  way  of  joining  the  edges  of  Hamburg  trimming  is  to  button- 
hole or  blanket  stitch  the  edges  together  very  closely. 


72 


A SEWING  COURSE 


Fitness. — It  holds  an  edge  from  raveling  and  at  the  same  time  deco- 
rates it.  When  worked  close  together  it  is  very  strong  and  durable  as  well 
as  beautiful. 


* 


Fig.  22. — Blanket  Stitch. 


Fig.  23. — Scallops. 


Rule. — It  is  worked  from  right  to  left  or  left  to  right,  the  latter  being 
the  more  usual  way.  The  work  is  held  over  the  first  finger  of  the  left  hand 
with  the  raw  edge  toward  the  worker.  The  upright  part  of  the  stitch  is  at 
right  angles  with  the  raw  edge  (Fig.  22) ; the  loop  goes  over  the  edge.  The 
needle  is  inserted  as  far  from  the  raw  edge  as  the  depth  of  the  stitch  chosen. 
To  fasten  the  thread  in  cloth  or  flannel  (in  canvas  a knot  has  to  be  used) ; 
make  a running  stitch  toward  the  edge,  insert  the  needle  again  at  the  same 
place  as  before  and  take  one  stitch  toward  the  edge,  slip  the  thread  under 
the  needle  and  make  a loop.  Insert  the  needle  at  the  same  height  as  the  last 
stitch  and  as  far  to  the  right  (or  left)  as  desired,  making  a loop  in  the  thread. 
Continue  the  stitches  the  same  height  and  the  same  distance  apart.  In  a cor- 
ner three  stitches  should  come  in  the  same  hole  to  make  a neat  turn.  When 
a new  thread  is  to  be  taken,  fasten  off  the  old  thread  back  of  the  last  upright 
stitch.  Begin  the  new  thread  by  a running  stitch  back  of  the  last  stitch,  catch 
the  new  thread  through  the  loop  and  proceed  as  before. 

Varieties  of  the  Stitch. — The  depths  of  the  upright  stitches  may  be 
varied  at  regular  intervals  and  make  a most  attractive  effect.  An  ornamental 
network  also  can  be  made  by  catching  succeeding  rows  of  the  stitch  in  the 
previous  row.  In  using  the  blanket  stitch  for  scallops  in  embroidery  (Fig. 
23),  the  upright  part  of  each  stitch  lies  close  to  the  next.  It  must  be  crowd- 
ed on  the  inner  edge  of  the  scallop  to  have  the  outer  edge  firm  and  substantial. 
When  the  point  of  union  between  two  scallops  is  reached,  the  last  blanket 
stitch  can  come  directly  at  the  point  of  junction,  or  each  succeeding  scallop 
can  begin  again  at  that  point  and  give  an  overlapping  appearance.  The  last 
is  the  richer  effect.  In  flannel  garments  scalloped  at  the  edge,  the  material 
below  the  scallop  is  to  be  cut  away.  It  is  better  not  to  cut  too  close  until 
the  flannel  has  been  once  washed. 

Practice. — (See  Practice — Buttonholes,  Embroidery  on  Flannel  or  unite 
two  pieices  of  Hamburg  edging.) 

Suggestion. — The  blanket  stitch  is  very  useful  in  early  primary  grades. 
It  may  be  used  to  finish  the  edges  of  burlap  mats,  leaves  for  needlebooks,  book- 
marks, blankets,  bookcovers  and  napkin  rings.  Variation  in  the  length  of 
the  stitches  may  also  be  suggested  by  the  children.  In  raffia  work  this  stitch 
may  be  used  in  picture  frames,  or  to  hold  together  the  bundles  of  raffia,  for 
making  hats,  mats  and  baskets. 


PLACKETS 


73 


Nos.  29,  30,  31.  PLACKETS. 

Use. — The  opening  made  in  certain  parts  of  garments  which  gives 
greater  freedom  in  slipping  them  on.  Skirts  and  petticoats,  shirt  sleeves, 
drawers  and  chemises,  have  these  openings. 

Fitness. — The  piece  of  material  set  on  or  folded  over  strengthens  the 
garment  where  it  has  to  bear  a strain  and  is  liable  to  be  torn  and  the  in- 
creased size  of  the  opening  gives  comfort. 

In  full-sized  garments  the  length  of  the  placket  depends  on  its  use.  The 
object  should  be  merely  to  have  the  parts  slip  on  easily  and  to  avoid  unnec- 
essary length. 


PLACKET  No.  1. 

MATERIALS  FOR  PRACTICE. 

Gingham  or  White  Muslin,  Cotton,  No.  80-100.  Needle,  No.  9-11. 

4x4  Inches. 

Application. — On  a petticoat  either  full  or  small  size. 

Use. — For  finishing  the  vent  in  certain  skirts  or  for  the  opening  in  the 
back  of  men’s  shirts. 

Practice. — Cut  a slit  2 y2  inches  down  the  middle,  or  one-half  inch  to  the 
left  of  the  middle,  of  the  warp  of  a piece  of  gingham  or  muslin  4x4  inches. 
Put  a narrow  hem  down  the  left-hand  side  of  the  slit,  sloping  it  to  nothing  at 
the  end.  On  the  right-hand  side  of  the  slit  make  a hem  which  will  be  half  an 
inch  wide  its  entire  length.  When  the  end  of  the  cut  is  reached,  fold  the 
whole  width  of  the  right-hand  side  over  the  left-hand  side.  This  will  make 
a pleat  in  the  muslin  below  the  end  of  the  vent  (some  prefer  the  left  side 
folded  over  the  right).  Securely  fasten  down  the  broad  hem  over  the  narrow 
by  a line  of  stitching  stitches  at  right  angles  with  the  hemming-stitches  and 
over  the  end  of  the  slit.  Make  another  line  of  stitching  stitches  which  will 
slant  from  the  end  of  the  fold  of  the  hem,  where  the  other  stitching  stitches 
ended,  to  the  hemming  stitches  and  will  form  the  hypothenuse  of  the  angle 
made  by  the  junction  of  the  hemming  stitches  with  the  first  line  of  stitching 
stitches.  This  will  make  a more  secure  finish  than  double  parallel  lines  of 
stitching  stitches. 

Suggestion. — In  full-sized  garments  the  broad  hem  in  this  placket  varies 
from  1 inch  to  1 % inches  in  width.  The  length  varies  from  5 inches  to  10 
inches,  according  to  the  requirements  of  the  garment. 

Garments  containing  plackets  of  this  character  should  be  brought  to  the 
class  for  illustration.  It  is  well  also  for  the  classes  to  make  small  white  petti- 
coats, gingham  dress  skirts  or  flannel  skirts  which  will  apply  this  principle. 
This  first  placket  is  so  simple  that  application  on  a small  garment  does  not 
need  to  be  preceded  by  making  the  practice  piece.  Making  the  placket  in 
paper,  where  the  subject  is  discussed  freely,  is  sufficient  preparation  for  its 
utilization  on  the  small  garment.  A placket  is  more  satisfactory  in  the  back 
of  a petticoat  than  a gusset,  on  account  of  the  lapping  over  of  the  material 
in  the  former. 


74 


A SEWING  COURSE 


PLACKET  No.  2. 

MATERIALS  FOR  PRACTICE. 

Gingham  or  White  Muslin,  Cotton,  No.  80-100.  Needle,  No.  9-11. 
4x4  Inches. 

5V4x1}4  Inches  (lower  facing). 

314x1^4  Inches  (upper  facing). 

Application. — On  the  vent  at  the  wrist  of  a shirt  sleeve. 

Use. — Opening  of  shirt  sleeves.  The  under  facing  makes  a strong  finish 
which  will  launder  well  and  the  upper  facing  makes  the  appearance  attractive. 

Practice. — Take  a piece  of  striped  gingham  or  white  muslin,  4x4  inches 
(if  gingham  is  used  care  must  be  taken  throughout  to  match  the  pattern).) 
Cut  a 2%-inch  slit  along  the  warp  lengthwise  of  the  material  2%  inches  from 
the  right-hand  side.  (If  this  slit  should  be  cut  down  the  center  of  the  piece, 
the  placket  when  completed  will  not  be  well  placed.)  Lay  the  long  strip  of 
muslin  to  the  wrong  side  of  the  model  at  the  right-hand  side  of  the  vent, 
making  the  raw  edges  even.  Make  a narrow  seam  (running  and  backstitch- 
ing)  from  the  top  of  the  model  to  the  end  of  the  cut.  Turn  this  facing  over 
on  the  right  side  of  the  cloth  leaving  the  folded  edge  on  the  wrong  side  ex- 
tend the  width  of  the  seam  beyond  the  sewing.  Turn  in  the  opposite  edge 
of  the  facing  % of  an  inch  its  entire  length.  Stitch  it  down  on  the  right 
side  and  when  the  bottom  of  the  cut  is  reached,  stitch  across  the  facing  at 
right  angles  to  the  vent.  This  disposes  of  half  of  the  long  strip.  Turn  it 
back  on  itself,  having  both  raw  edges  turned  into  narrow  folds  to  correspond 
with  the  turns  in  the  half  of  the  facing  just  completed.  Baste  the  unfinished 
side  of  the  vent  to  the  facing  as  it  turns  back,  being  careful  that  it  lies  flat 
and  that  the  raw  edge  of  the  vent  is  far  enough  over  on  the  facing  to  be  strong. 

Take  now  the  upper  facing,  turn  the  long  edges  so  that  the  width  will 
exactly  correspond  with  the  part  of  the  lower  facing  which  turns  back.  Lay 
it  on  the  lower  facing.  Directly  below  the  vent  the  outer  facing  should  be 
turned  into  a point.  (Fig.  24.)  This  point  can  be  made  exact  by  (1)  turn- 
ing the  facing  back  at  right  angles  where  it  reaches  the  end 

of  the  vent  and  making  a crease,  and  (2)  by  turning  the  ma- 

terial below  the  crease  on  both  sides  diagon- 
ally into  angles,  the  straight  sides  of  which  shall  rest  on 
the  crease.  Where  the  diagonals  cross  will  be  the  true 
point.  Cut  the  material  % of  an  inch  below  the  cross- 
ing of  the  diagonals.  The  upper  facing  should  be 
basted  carefully  to  the  lower  around  the  edges  and 
the  point  should  be  adjusted  and  basted  on  the  ma- 
terial below  the  vent.  The  entire  upper  facing  should 
then  be  stitched  around  the  sides  and  point.  In  large 
garments  the  work  would  be  done  by  machine. 

Suggestion. — In  large  garments  the  length  of  this 
placket  is  about  4 inches,  the  width  varies  from  1 inch 
to  1%  inches. 

The  upper  and  lower  facings  may  be  cut  in  one 
piece,  but  the  fitting  is  more  difficult  than  with  the 
two  pieces. 


Fig.  24. — Folding 
of  the  Point  in 
the  Upper  Fac- 
ing. 


PLACKETS 


75 


Where  gingham  is  used  the  upper  facing  must  be  cut  according  to  the 
pattern;  it  must  exactly  match  the  main  part  of  the  cloth  over  which  it 
extends. 

A small  sleeve  may  be  made  by  each  child  and  the  placket  put  in  that, 
or  a small  shirtwaist  may  be  made  at  this  time. 

The  front  of  a shirtwaist  is  frequently  made  with  a box  pleat  l1/^  to  l1/^ 
inches  wide.  This  pleat  is  usually  stitched  on  each  edge.  The  buttonholes 
can  be  made  in  it  or  an  extra  lap  may  be  made  underneath  for  them.  If  the 
material  is  not  wide  enough  to  make  the  pleat,  an  extra  piece  may  be  added 
which  will  fold  under  the  pleat  and  not  show.  The  other  side  of  the  shirt- 
waist which  goes  under  the  box  pleat  may  be  turned  into  a 1-inch  hem,  or 
if  too  narrow  for  that,  a supplementary  piece  may  be  added,  turned  back 
and  stitched  down  either  on  the  right  or  wrong  side  of  the  cloth  as  desired. 


PLACKET  No.  3. 

MATERIALS  FOR  PRACTICE. 

White  Muslin,  Cotton,  No.  80-100.  Needle,  No.  9-11. 

4x4  Inches. 

Finish,  No.  1.  5x1  inch  on  a strip  of  muslin  with  one  side  selvage. 

Finish,  No.  . 2.  5x2  Inches. 

Application. — On  the  vent  of  a pair  of  drawers,  a doll’s  skirt,  or  a child’s 
dress. 

Use. — Especially  adapted  to  children’s  drawers  on  account  of  its  strength 
and  the  complete  closing  of  the  vent  by  the  lap  underneath,  formed  by  the 
turned  back  strip.  It  is  also  used  in  white  petticoats  and  in  cotton  dress 
skirts. 

Practice. — Cut  2%  inches  in  the  middle  of  a piece  of  muslin  4x4  inches. 
The  vent  may  be  finished  in  one  of  the  following  ways : Finish  No.  1.  Take 
the  strip,  5x1  inch,  put  a narrow  hem  one-half  way  down  it  or  use  the  selvage 
piece.  Lay  the  opposite  raw  edge  of  the  strip  on  the  left-hand  side  of  the 
vent  with  the  right  side  of  the  strip  lying  against  the  right  side  of  the  cloth. 
Baste  it  so  that  the  edge  of  the  strip  will  be  just  below  the  raw  edge  of  the 
vent  (as  for  a fell).  Begin  at  the  ends  of  the  slit  and  make  a narrow  fell 
with  the  cloth  hemmed  down  on  the  strip.  This  disposes  of  but  one-half  of 
the  strip.  Begin  at  the  edge  of  the  vent  and  with  the  running  and  back- 
stitching  sew  the  remainder  of  the  raw  edge  of  the  strip  to  the  opposite  side 
of  the  vent  in  order  that  when  the  seam  is  pressed  open  this  part  of  the  strip 
will  make  a lining  to  the  right-hand  side  of  the  vent.  This  will  turn  the 
strip  back  on  itself.  Hem  the  lining  down  by  turning  in  the  raw  edges  or 
hemming  down  the  selvage  strip.  Where  the  strip  turns  back  at  the  bottom 
of  the  placket  it  must  be  hemmed  or  stitched  neatly  and  closely  to  the  cloth. 
When  the  placket  is  completed  the  faced  part  of  it  on  the  right-hand  side  lies 
above  the  lap  made  by  the  first  half  of  the  strip.  Where  the  strip  turns  back 
there  is  always  a small  fold  in  the  cloth  made  by  the  fell,  a loop  made  of 
buttonhole  stitches  can  be  placed  at  this  point  and  add  materially  to  the 
strength. 


76 


A SEWING  COURSE 


Finish,  No.  2. — Take  the  strip  5x2  inches,  lay  one  raw  edge  of  it  on 
the  right  side  of  the  material  or  garment  along  the  entire  vent  and  baste  it 
neatly,  being  careful  to  hold  it  well  at  the  bottom  of  the  slit  before  continuing 
up  the  other  side.  Sew  it  with  one  of  the  strong  stitches,  such  as  the  stitching- 
stitch,  and  then  turn  the  opposite  raw  edges  of  the  strip  just  over  the  seam 
and  hem  it  down  the  entire  length.  When  finished,  the  strip  will  fold  back 
on  itself,  as  in  finish,  No.  1,  but  it  does  not  need  to  be  hemmed  down  to  form 
a lining  as  in  that  method.  Arrange  the  placket  so  it  will  look  neat  on  the 
right  side  and  make  a loop  of  buttonhole  stitches  across  the  end  of  it  to 
strengthen  it.  To  keep  the  strip  well  in  place  make  on  the  wrong  side  of 
the  placket  a slanting  line  of  stitching-stitches  which  will  hold  the  strip 
together  without  interfering  with  the  size  of  the  opening. 

Suggestion. — In  full-sized  garments  this  placket  varies  in  length  and 
width  according  to  need.  In  cotton  dress  skirts  the  strip  is  often  made  of 
double  material.  In  childrens  drawers  a broad  piece  of  tape  more  than  twice 
the  length  of  the  vent  is  sometimes  used  to  stay  the  material  by  extending  it 
down  one  side  of  the  vent  across  the  bottom  by  turning  it  twice  back  on  itself 
and  up  on  the  other  side.  Neither  this  means  nor  the  gusset  have  the  advan- 
tage of  completely  closing  the  opening. 


GUSSET 


77 


No.  32.  GUSSET. 

MATERIALS  FOR  PRACTICE. 

Muslin,  Cotton,  No.  80-100.  Needle,  No.  10-11. 

4x4  Inches. 

Diagonal  of  a 2 y2  Inch  Square. 

Application. — In  place  of  the  placket  in  a skirt,  at  the  end  of  seams  and 
under  the  arms.  It  is  not  in  frequent  use. 

Use. — A gusset  is  a small  piece  of  material  (usually  triangular)  put  in 
the  openings  of  sleeves,  shirts  and  drawers,  to  increase  the  width  and  to 
strengthen  the  garment. 

Fitness. — The  upper  part  of  the  triangle  overhanded  into  the  seam  or 
into  the  cut  on  the  right  side  of  the  garment,  and  the  lower  part  of  it,  which 
turns  back  as  a lining  on  the  wrong  side  and  acts  as  a stay,  give  great  dura- 
bility to  the  seam. 


Rule. — To  fold  a trianglar  gusset,  take  a triangular  piece  of  muslin  and 
(1)  turn  a narrow  fold  on  all  three  sides  of  it  (the  two  sides  first  and  then 
the  base).  (2)  Make  a crease  exactly  through  the  triangle  from  the  apex  to 
the  base.  ( Fig.  25.)  (3)  Turn  the  apex  down  to  about  % of  an  inch  at  the 

base.  (Fig.  26.)  The  new  triangle  thus  formed  is  the  gusset  proper,  while 
the  remainder  will  serve  for  the  lining  or  stay.  (4)  Turn  each  point  of  the 


base  into  another  equilateral  triangle,  which  will  make  the  piece  hexagonal 
in  shape.  Cut  off  the  unnecessary  material  in  this  new  turn  so  it  will  leave 


78 


A SEWING  COURSE 


only  a small  fold.  (Figs.  27  and  28.)  (5)  Place  the  apex  of  the  triangle 

(with  the  folds  turned  to  the  wrong  side  of  the  garment)  at  the  end  of  the 
seam  or  of  the  cut  needing  strengthening.  Overhand  it  on  both  sides  from 
the  apex  to  the  crease  made  when  it  was  folded  into  the  second  triangle. 
(Fig.  28.)  (6)  After  the  triangle  is  overhanded,  turn  the  remaining  part  of 

the  gusset  to  the  wrong  side  of  the  garment,  baste  it  carefully,  placing  the 
lengthwise  crease  at  the  center  of  the  seam  or  the  cut,  and  laying  the  side  folds 
of  the  gusset  so  they  will  extend  along  warp  and  woof  threads.  The  lining 
must  lie  perfectly  flat.  Hem  it  down  carefully.  (Fig.  29.)  (7)  Put  a line 

of  stitching  on  the  right  side  of  the  garment  across  the  bottom  of  the  gusset 
where  it  folds  back.  This  will  keep  it  flat  and  improve  the  appearance. 

Practice. — Take  a piece  of  muslin  4x4  inches.  Cut  it  in  half  down  the 
warp  threads,  join  the  two  pieces  together  1V2  inches  in  an  overhanded  fell. 
(See  Overhanded  Fell.)  Turn  narrow  hems  on  the  raw  edges  of  the  practice 
piece  below  the  fell.  The  end  of  the  fell  will  need  to  be  cut  across  so  the  hems 
will  lie  quite  flat.  For  the  gusset,  take  the  diagonal  of  a 2V2-inch  square  of 
muslin.  Fold  and  insert  according  to  the  rule. 

Suggestion. — There  are  other  varieties  of  gussets  besides  the  triangular 
one.  A square  of  muslin  is  sometimes  used  with  a small  diagonal  cut  from 
one  corner.  It  is  inserted  in  the  same  way  as  the  triangular  gusset.  A square 
piece  is  also  used  by  turning  it  diagonally  and  inserting  it  in  the  seams  under 
the  arms  of  night  dresses,  chemises  and  shirts,  to  give  more  room.  A gusset 
may  also  be  cut  with  the  sides  extended  into  a facing.  This  variety  is  some- 
times used  in  children’s  drawers.  The  gusset  gives  room  and  the  facing  ex- 
tends up  each  side  of  the  opening  and  acts  as  a stay. 

The  gusset  is  less  used  than  formerly.  Plackets  are  found  to  serve  the 
purpose  better,  as  they  keep  the  openings  closed  while  strengthening  the 
material,  and  in  drawers  and  skirts,  are  more  satisfactory. 

A gusset  is  not  difficult  to  insert  if  all  the  steps  are  understood  and  if 
the  folding  is  carefully  done.  Blackboard  diagrams  are  a help  in  making  the 
steps  clear.  Garments  with  gussets  inserted  should  be  shown  to  the  classes. 

It  is  not  necessary  to  teach  the  gusset  in  the  course  in  the  elementary 
school.  Teachers,  technical  students  and  trade  workers  should  know  how  to 
make  it. 


SEWING  ON  TAPE 


79 


No.  33.  SEWING  ON  TAPE 


MATERIALS  FOR  PRACTICE. 


Cotton,  No.  70. 


Needle,  No.  9. 


Muslin,  3x2%  Inches. 

Tape  (%  Inch  wide,) 

5 Inches. 

3 Inches. 

Application. — On  towels,  dusters  and  skirts. 

Use. — To  fasten  tape  securely  so  it  may  serve  for  strings  for  under- 
clothing, aprons  and  other  garments,  or  for  loops  to  hang  up  clothing  and 
household  articles.  It  is  also  used  to  strengthen  the  edges  of  material.  (See 
Placket  No.  3.) 

Rule. — The  free  ends  of  the  tape  intended  for  strings  must  always  be 
finished  neatly  or  they  will  fray.  They  may  be  folded  down  and  hemmed  or 
turned  into  a point  and  overhanded  or  hemmed.  The  end  to  be  fastened 
down  is  usually  placed  on  the  wrong  side  of  the  garment.  If  there  is  a 
hem  on  the  article  a short  distance  from  the  edge,  the  end  of  the  tape  may 
be  turned  in,  laid  against  the  hem  and  hemmed  down  on  three  sides.  (Fig. 
30.)  At  the  edge  of  the  garment  it  may  be  overhanded  or  stitched.  In  place 
of  the  hemming  for  holding  down  the  tape  the  stitching  stitch  may  be  used. 
It  must  always  be  perfect  on  the  right  side  of  the  garment.  To  do  this  the 
tape  must  be  laid  flat  on  the  wrong  side  of  the  article  with  its  raw  edge  to- 
ward the  end.  The  stitching  is  done  on  the  right  side  through  the  tape.  The 
tape  may  then  be  turned  back  so  it  will  cover  the  stitches.  The  sides  may 
be  hemmed  and  the  edge  of  the  article  overhanded  or  stitched  to  the  tape. 
When  loops  are  to  be  placed  on  towels  or  dusters,  the  center  of  the  piece  of 
tape  is  turned  diagonally  back  on  itself  and  forms  a point.  (Fig.  30.)  The 

ends  of  the  tape  are  laid  side  by  side  on  the  wrong 
side  of  the  material  and  hemmed  or  stitched  down 
as  described  above.  The  edge  of  the  material  is 
stitched  or  overhanded  to  the  loop.  Where  the  two 
pieces  of  tape  join,  they  may  be  hemmed  together 
or  held  down  with  cross  stitches. 

Practice. — Take  a piece  of  muslin  3x2%  inches, 
turn  and  base  a %-inch  hem  on  one  long  side. 
A loop  and  a string  of  tape  are  to  be  sewed  to  this 
hem.  Take  five  inches  of  tape  for  a loop  and  fold 
it  diagonally  in  the  middle  according  to  the  direc- 
tion above.  (Fig.  30.)  Turn  in  the  raw  edges 
and  % an  inch  from  one  side  of  the  muslin,  lay 
the  ends  of  the  tape  side  by  side  with  their  folds 
on  the  hem  of  the  muslin.  Hem  the  muslin  across 
neatly  and  strongly,  being  careful  to  hold  the  tape 
down  with  the  hemming  stitches.  Hem  each  side  of  the  tape  to  the  muslin 
and  the  two  pieces  of  tape  together.  At  the  edge  of  the  muslin  overhand 
the  tape  to  the  hem.  Take  the  3-inch  piece  of  tape  for  a string.  Lay  one 
end  on  the  wrong  side  of  the  hem  (%  inch  from  the  loop)  with  its  raw  edge 
toward  the  end.  Stitch  it  down  closely  just  where  the  hemming  is  and  make 
the  stitching  perfect  on  the  right  side.  Turn  back  the  tape  so  it  covers  the 


A SEWING  COURSE 


stitches  and  after  hemming  each  side,  stitch  the  tape  to  the  muslin  on  the 
right  side  near  the  edge  of  the  fold.  Fold  the  raw  edge  of  the  tape  into  a 
point  by  turning  the  width  of  the  tape  diagonally  into  a true  bias  and  this 
again  into  a triangle,  and  overhand  it  across  the  bottom  of  the  triangle  and 
along  the  one  side. 

Suggestion. — In  dressmaking,  the  loops  or  hangers  on  a skirt  are  usually 
laid  flat  on  the  under  side  of  the  belt  and  sewed  strongly  to  the  belt  near  the 
side  seams,  or  one  loop  may  be  placed  in  the  middle  of  the  back.  They  are 
cut  about  four  or  five  inches  long,  which  allows  for  the  turning  in  at  each 
end.  They  are  hemmed  or  stitched  into  place.  In  waists,  hangers  are  usually 
placed  in  the  seams  of  the  sleeves ; they  may  lie  flat  as  in  the  skirt,  but  usually 
the  tape  is  doubled  diagonally  and  the  ends  are  placed  exactly  together.  They 
may  be  stitched  in  with  the  sleeve  or  strongly  overhanded  to  the  seam.  For 
hangers  for  coats  the  flat  loop  and  the  diagonal  sleeve  loop  are  both  used. 

Tape  is  also  used  to  strengthen  the  sides  of  an  opening  by  having  it  ex- 
tend up  both  sides  after  being  folded  in  the  center  diagonally  as  a loop  is 
made  and  laid  flat  below  the  opening. 

In  children’s  work  strings  of  tape  may  take  the  place  of  buttonholes  in 
dolls’  petticoats.  Little  towels  or  dusters  with  loops  of  tape  may  be  made 
to  apply  various  stitches. 


TUCKING 


81 


No.  34.  TUCKING 

MATERIALS  FOR  PRACTICE. 

Muslin,  6x5  Inches.  Cotton,  No.  80-100.  Needle,  No.  9-11. 

Application. — On  aprons,  dolls’  clothing  or  underclothing. 

Use. — Folds  taken  on  the  right  side  of  material  for  ornament;  or  as  a 
means  of  disposing  of  material  until  it  is  needed  to  lengthen  the  garment;  or 
to  narrow  a garment  in  place  of  gathers.  They  are  used  principally  on  chil- 
dren ’s  clothing,  undergarments  and  cotton  dress. 

Tucks  may  vary  in  depth  from  1-16  of  an  inch  to  a couple  of  inches. 
The  distance  between  them  is  a matter  of  choice.  In  wide  tucks  one-third 
to  one-half  of  their  depth  is  usually  left  between  them;  in  very  narrow  ones 
the  space  between  may  be  the  same  as  the  depth.  Groups  of  narrow  tucks 
are  frequently  made  with  the  fold  of  one  reaching  to  the  sewing  of  the  one 
below.  The  sewing,  however,  must  not  be  covered. 

Rule. — Decide  on  the  size  and  distance  apart  of  the  tucks  and  make  a 
gauge  (a  card  with  notches  in  it)  to  indicate  (1)  the  depth,  (2)  the  sewing 
and  (3)  the  distance  apart  of  the  tucks.  If  there  is  a hem  on  the  garment 
below  the  tucks,  place  the  end  of  the  gauge  on  the  sewing  of  the  hem,  make 
the  first  notch  at  the  distance  from  the  hem  to  the  inner  sewing  of  the  tuck 
added  to  the  depth  of  the  tuck.  Put  the  second  notch  at  the  depth  of  the 
tuck.  The  third  and  fourth  notches  will  repeat  the  distance  of  the  first  and 
second.  These  notches  will  be  the  indication  for  two  tucks.  After  that  the 
tucks  can  be  indicated  by  folding  together  the  wrong  side  of  the  material  at 
the  first  tuck  below  the  one  to  be  folded  and  creasing,  making  pin-pricks  or 
pencil  marks  at  the  fold  of  the  second  tuck  below.  When  the  gauge  is  made, 
place  the  card  on  the  hem  (or  any  point  selected  beyond  which  the  tuck  is  to 
be  made)  and,  with  a strong  pin  prick  through  the  material  at  the  marks  on 
the  card,  moving  it  gradually  across  the  material.  Make  a crease  from  one 
pin-prick  to  the  other.  The  first  crease  will  be  the  depth  of  the  tuck,  the 
second  the  sewing,  the  third  will  be  the  depth  of  the  second  tuck,  the  fourth 
the  sewing.  The  tucks  are  usually  sewed  on  the  upper  side  through  the  dou- 
ble material  with  the  running  stitch  or  by  machine.  They  should  be  as  care- 
fully folded  to  a thread  as  possible,  especially  in  narrow  tucks  where  a small 
variation  in  the  thread  is  quite  noticeable. 

Practice. — Take  muslin  6x5  inches,  place  a hem  at  the  bottom  which  will 
be  % of  an  inch  deep  when  finished.  It  should  be  folded  as  exactly  as  pos- 
sible. Three  tucks,  % of  an  inch  in  depth  with  % of  an  inch  between  are 
to  be  placed  above  the  hem.  This  will  make  the  inner  sewing  of  the  tuck  % 
of  an  inch  above  the  sewing  of  the  hem;  the  tuck  will,  when  finished,  cover 
half  of  this  space  and  the  other  half  will  be  the  space  between  the  tuck  and 
the  hem.  If  a gauge  is  needed  for  these  narrow  tucks,  the  first  mark  would 
be  % of  an  inch  above  the  mark  for  the  hem  (the  distance  between  the  hem 
and  the  inner  sewing  of  the  tuck,  i.  e.,  % of  an  inch  added  to  the  depth  of 
the  tuck,  i.  e.,  % of  an  inch) . The  second  mark  would  be  % of  an  inch  above 
or  the  depth  of  the  tuck;  the  third  mark  would  be  % of  an  inch  above  the 
second  mark,  and  the  fourth  mark  % of  an  inch  beyond  the  third,  making  in 
all  one  inch  from  the  hem.  Prick  with  a pin  at  the  marks,  moving  the  gauge 
across  the  material.  The  third  tuck  can  be  measured  from  the  others  (see 


82 


A SEWING  COURSE 


rule).  A tape  measure  can  be  used  in  place  of  the  gauge  for  these  narrow 
tucks.  Great  care  must  be  taken  in  folding  to  a thread,  if  possible.  Sew  with 
the  running  stitch  on  the  outside  of  the  tuck.  When  the  tucks  are  finished, 
prepare  the  upper  part  of  the  material  for  putting  on  a band.  (See  No.  35.) 

Suggestion. — Illustrations  of  different  varieties  of  tucking  should  be 
brought  to  the  class  for  discussion.  It  is  also  well  to  provide  paper  so  that 
each  member  of  the  class  may  have  experience  in  spacing  tucks  from  some 
design  of  her  own,  and  also  may  learn  to  notch  the  card  for  the  gauge. 

Garments  which  are  too  short  or  too  narrow  may  be  increased  by  adding 
new  material  and  hiding  a seam  under  a tuck.  This  method  of  repairing 
should  be  discussed. 

Knots  are  sometimes  used  in  tucks  to  begin  the  running  stitch,  but  a 
neat  fastening  is  preferable. 


No.  35.  PUTTING  ON  A BAND 

MATERIALS  FOR  PRACTICE. 

Muslin,  2%xl  Inch.  (Utilize  practice  piece  No.  34.) 

Application. — On  aprons,  skirts  and  other  clothing. 

Use. — A narrow  strip  of  cloth,  folded  over  to  cover  the  plain  or  gath- 
ered raw  edges  of  material  and  to  bind  the  garment  together;  a means  of 
fastening  a garment  in  place  as  well  as  of  supporting  and  strengthening  it. 

Varieties. — The  setting  in  of  gathers  or  hemming;  the  stitched-on,  and 
the  overhanded  band. 

Rule. — As  the  band  needs  to  be  strong  it  should  be  cut  along  the  selvage 
or  the  warp  of  material  (the  selvage  itself  would  better  be  cut  off  as  it  is 
usually  too  heavy).  The  width  of  the  band  depends  on  the  place  for  which 
it  is  intended;  the  length  (in  cutting)  is  generally  from  one  to  two  inches 
longer  than  the  place  it  is  to  occupy.  This  allows  for  turning  in  at  each 
end  and  for  the  lapping  over  of  the  band.  The  raw  edges  of  the  band  should 
be  folded  down  first  from  % to  % of  an  inch  along  the  length  and  then  the 
ends  may  be  turned  in.  The  corners  can  be  mitered  (see  Mitering)  if  the 
folds  of  the  cloth  coming  together  make  it  too  thick.  The  band  must  now  be 
folded  together  along  its  length  with  all  the  raw  edges  inside.  The  ends  may 
be  basted  together  or  overhanded  before  the  band  is  placed  on  the  garment, 
as  it  helps  to  keep  it  in  place.  Divide  the  band  in  half  and  again  in  quarters 
and  mark  with  cross  stitches.  Take  now  the  garment  on  which  the  band  is 
to  be  placed.  Spread  the  material  as  desired  on  the  gathers  (if  there  are  any) 
and  stretch  and  pin  the  length  of  the  band  to  it.  The  garment  should  be 
already  marked  in  halves  and  quarters,  as  the  band  is  parked,  if  the  full- 
ness is  to  be  evenly  distributed  along  the  band.  If  the  front  is  to  be  plain 
and  the  fullness  gathered  into  a few  inches  in  the  middle  of  the  back  a care- 
ful calculation  of  the  amount  of  the  material  to  go  into  each  quarter  of  the 
band  must  precede  the  matching  of  the  halves  and  quarters  of  the  band  and 
garment. 

Setting  in  of  Gathers. — After  preparing  the  band,  place  the  gathers 
within  it,  matching  the  marked  halves  and  quarters;  baste  the  right  side  of 
the  band  to  the  gathers  so  that  the  gathering  stitches  are  just  covered.  Begin 


PUTTING  ON  A BAND 


83 


as  for  the  hemming  stitch  and  take  a few  small  hemming  stitches  in  the  end 
of  the  band,  holding  it  to  the  gathers.  After  these  stitches  are  made  instead 

of  slanting  the  stitch  on  the  right  side  put  it 
vertically  from  the  band  into  the  space  between 
each  gather  (Fig.  31),  and  slant  it  on  the  wrong 
side  into  the  band  just  above  the  next  gather. 
This  will  make  the  shape  of  the  stitch  like  the 
letter  N.  Each  gather  should  stand  by  itself 
and  the  stitch  should  show  very  little.  The 
wrong  side  of  the  band  can  be  sewed  on  the 
same  way  or  it  can  be  hemmed.  The  band  on 
the  wrong  side  must  not  extend  below  the  band 
on  the  right  or  the  stitches  will  show  on  the 
right  side.  The  setting  in  of  gathers  has  to  a 
great  extent  taken  the  place  of  the  old  form  of 
the  hemming  stitch  for  fastening  a band  to  a 
garment,  as  it  is  more  attractive.  If  the  hem- 
ming stitch  is  to  be  used,  in  place  of  the  setting  in  of  gathers,  the  preparation 
will  be  the  same,  but  the  stitches  used  to  hold  down  the  band  will  be  regular 
hemming  stitches. 

Stitching  or  Backstitching  on  the  Band. — Prepare  the  band  carefully 
(see  Rule).  The  ends  need  not  be  basted  or  overhanded  together  all  the  way 
down.  The  halves  and  quarters  of  the  band  should  be  matched  to  those  of 
the  garment.  Lay  the  right  side  of  the  band  against  the  right  side  of  the 
garment  with  the  crease  in  the  folded  edge  of  the  band  exactly  over  the 
gathering  stitches.  Baste  the  band  to  the  garment  through  the  crease,  being 
careful  to  keep  the  gathers  evenly  distributed.  Turn  the  garment  around 
so  the  gathers  are  toward  the  worker  and  hold  each  gather  to  the  band  with 
stitching  or  backstitching.  On  completing  the  stitching,  take  out  the  bast- 
ings, press  the  right  side  of  the  band  back  to  the  line  of  stitching  and  baste 
across  the  fold  thus  made;  if  the  band  has  not  been  stitched  on  straight,  it 
will  show  when  it  is  pressed  back,  for  it  will  overhang  in  places.  It  should 
be  straight  with  the  crease.  Careful  basting  in  the  first  place  will  aid  in 
this.  The  back  of  the  band  can  be  hemmed  in  place  and  the  ends  overhanded. 
(For  the  use  of  the  stitched  band  see  description  of  Apron — Whipped  Hem.) 

Overhanded  Band. — In  dress  skirts,  gathering  is  sometimes  done  on  dou- 
ble material.  The  band  in  this  case  is  overhanded  on.  Prepare  the  band  as 
before,  baste  it  together  and  overhand  the  ends.  Match  the  halves  and  quar- 
ters of  the  band  with  the  garment  and  lay  the  band  with  its  double  edges 
against  the  right  side  of  the  gathers  and  pin  it  in  place.  Overhand  each 
gather  to  the  band,  holding  the  band  toward  the  worker. 

Practice. — Take  the  practice  piece  for  No.  34.  First  turn  down  the  raw 
edge  into  a crease  to  make  a line  on  which  the  gathering  stitches  shall  go. 
Take  double  cotton,  make  a knot  in  the  end  and  take  through  the  crease  the 
irregular  running  stitch ; the  longest  part  of  the  stitch  may  be  about  1-16  of 
an  inch.  Draw  up  and  stroke  (see  Rule — Irregular  Gathering — Running 
Stitch).  For  the  band  take  a piece  of  muslin  2y2  inches  along  the  warp  and 
one  inch  along  the  woof,  fold  the  band,  turning  in  % of  an  inch  along  the 
length  and  at  each  end.  Put  on  the  band  according  to  the  rule  for  setting 
in  of  gathers. 


Fig.  31. — Setting  in  of 
Gathers. 


84 


A SEWING  COURSE 


Suggestion. — The  secret  in  making  a band  look  well  is  the  careful  fold- 
ing, preparing  and  basting.  Haste  in  the  first  steps  is  apt  to  give  bad  results. 

Bands  are  made  usually  of  straight  material.  Narrow  binding  to  finish 
garments  is  cut  on  the  bias.  In  gathering  material  for  a band  from  twice 
to  twice  and  a half  the  length  of  band  is  the  usual  allowance. 

A tucked  apron  or  petticoat  could  be  made  at  this  time  in  place  of  the 
practice  piece. 


DARNING 


85 


Nos.  36  and  37.  DARNING. 

MATERIALS  FOR  PRACTICE. 

Stockinet,  4x4  Inches.  Fine  Darning  Cotton.  Needle,  No.  7-10  or 

Warp  Threads  of  Muslin.  Long-Eyed  Darner. 
Colored  Cashmere.  Warp  Raveling  of  Cashmere. 

4x4  Inches.  Silk  of  the  Same  Color. 

Application. — Stockings,  knitted  underwear  or  sweaters  brought  from 
home. 

Use. — Darning  is  the  repairing  of  fabric  by  inserting  new  threads  into  a 
place  which  has  been  rubbed  thin  or  worn  into  a hole.  It  differs  from  patch- 
ing in  that  the  broken  part  is  woven  back,  while  in  the  latter  a piece  of  the 
same  cloth  is  inserted  into  the  hole.  Knitted  and  woven  materials  are  both 
usually  mended  in  this  way. 

Fitness. — As  it  imitates  the  original  texture  it  is  almost  invisible  and 
the  manner  of  weaving  the  threads  makes  it  strong. 

Varieties. — (1)  Running  Darn.  Thin  places  in  stockinet  or  in  woven 
material,  and  broken  places  in  the  latter  may  be  strengthened  by  running 
darns.  A number  of  lines  of  running  stitches  are  placed  close  together  over 
the  worn  part  on  the  wrong  side  and  the  stitch  and  the  space  alternate  in 
succeeding  rows.  In  stockinet,  small  loops  should  be  left  at  the  end  of  each 
row  to  allow  for  stretching  or  shrinkage,  and  the  edges  of  the  darn  should  be 

waved  or  diamond-shaped  so  the  strain  will  be 
distributed.  (Fig.  32.)  The  plain  running 
stitch  may  be  used  in  stockinet  or  ascending  and 
descending  loops  may  be  taken  with  each  stitch. 
In  woven  material  the  shape  of  the  darn  may 
be  square  and  the  loops  need  not  be  long. 

(2)  Stocking-web  Darning.  This  manner 
of  darning  reproduces  the  original  knitting  of 
the  garment.  It  is  the  method  employed  in  fac- 
tories where  the  machinery  has  torn  the  fabric. 
It  is  much  used  in  countries  where  hand-knitted 
garments  are  used.  It  is  a more  difficult  pro- 
cess than  the  ordinary  way  of  inserting  warp 
and  woof  and  unnecessarily  tedious  where  the 
darning  of  ordinary  stockings  or  sweaters  is  con- 
cerned. The  method  is  to  clear  away  loose  ends 
of  the  stockinet  until  the  hole  is  square  or  ob- 
long. Strands  of  thread  are  then  stretched 
across  the  hole  from  the  ascending  and  descend- 
ing loops  and  the  knitting  stitches  are  built  up 
with  darning  cotton  on  these  strands.  The 
strands  are  carefully  removed  when  the  knitting  is  completed.  This  method 
is  difficult  and  is  not  taught  generally  in  the  schools  of  the  United  States. 

(3)  Warp  and  Woof  Dams.  This  is  a method  in  general  use  for  re- 
pairing both  stockinet  and  woven  material.  It  may  be  plain  weaving  or  it 
may  accurately  reproduce  the  pattern,  as  is  often  done  in  fine  damask.  (See 
Weaving.)  In  stockinet  the  warp  threads  may  be  inserted  in  the  ascending 


A) 

Fig.  32. — Running  Darn 
in  Stockinet. 


86 


A SEWING  COURSE 


and  descending  loops  of  the  knitting,  or,  where  this  is  difficult  for  beginners 
or  unnecessarily  exact  for  the  class  of  material,  an  alternating  running  stitch 
may  be  used  for  both  warp  and  woof. 

(4)  Diagonal  Darns  in  Stockinet.  A rapid  means  of  darning  stockinet, 
and  one  which  is  sometimes  used  to  good  effect,  is  to  insert  threads  diagonally 
across  the  hole  in  the  stockinet  instead  of  placing  them  lengthwise  and  cross- 
wise of  the  knitting.  A very  elastic  dam  is  thus  made.  Care  must  be  taken 
to  catch  every  loop  as  the  stitches  cross  the  hole. 

(5)  Cloth  Darns.  These  may  be  made  by  carefully  inserting  the  broken 
threads.  Plain  or  pattern  weaving,  or  fine  drawing  may  be  used.  (See  Warp 
and  Woof  Darn  and  Fine-Drawing.) 

(6)  Kid  Glove  Darn.  A slit  in  a kid  glove  may  be  neatly  darned  by  over- 
handing the  broken  parts  together.  Where  a hole  is  worn  or  more  room  is 
needed,  the  blanket-stitch  can  be  made  close  together  around  the  hole  and  held 
together  by  catching  the  loops,  or  succeeding  rows  of  the  stitch  may  be  caught 
one  in  the  other  to  form  a lace  work. 

STOCKINET  DARNING. 

Rule. — (Catching  ascending  and  descending  loops.  Fig.  32.)  Carefully 
investigate  the  material  to  find  the  character  of  the  threads,  as  the  new  threads 
must  resemble  those  of  the  stockinet.  Fine  darning  cotton  doubled  is  more 
satisfactory  than  coarse  darning  cotton.  It  is  better  to  work  on  the  wrong  side 
of  the  stockinet.  The  position  is  over  the  first  two  fingers  of  the  left  hand  or 
the  stockinet  may  be  basted  to  a card.  Egg-shaped  and  other  darners  are  apt 
to  stretch  the  stockinet  and  the  darn  does  not  lie  flat.  The  hole  must  first  be 
neatly  cleared  of  loose  ends  and  made  as  regular  in  outline  as  possible.  If  it 
is  very  large,  strands  of  thread  may  be  thrown  across  the  hole  to  keep  it  in 
shape,  or  a thread  may  be  inserted  around  the  edge  of  the  hole  catching  each 
loop  and  closing  it  without  puckering  it.  (These  threads  are  to  be  cut  out 
when  the  darn  is  completed.) 

On  the  wrong  side  of  the  stockinet  one  row  of  the  loops  of  the  knitting 
turns  up  and  the  next  turns  down.  (Fig.  32.)  Thin  parts  of  the  stockinet 
beyond  the  hole  must  be  covered  by  a running  darn.  The  material  must  not 
be  made  any  heavier  than  it  was  originally.  Begin  at  the  lower  right-hand 
side  of  the  hole.  The  ends  of  the  darn  should  be  diamond-shaped  or  wavy 
(Fig.  32),  so  the  strain  will  not  be  along  one  line  of  loops.  Beginners  may 
stretch  a thread  in  diamond  shape  about  the  hole  and  darn  inside  of  that. 
The  longest  part  of  the  diamond  will  be  above  and  below  the  center  of  the 
hole.  Insert  the  needle  in  the  loops  that  turn  upward  taking  every  other  one 
in  coarse  knitting  and  every  third  or  fourth  in  fine.  On  returning  take  the 
loops  that  turn  downward,  alternating  the  stitch  with  the  preceding  line.  All 
the  warp  threads  are  woven  in  first.  The  darning  threads  must  pass  through 
the  loops  on  the  edge  of  the  hole;  if  they  are  not  caught  the  darn  will  not  be 
strong.  Insert  the  woof  threads  when  the  warp  threads  are  all  in.  Begin  at 
the  top  of  the  darn  as  far  from  the  hole  as  is  needed  to  strengthen  the  material. 
Lay  the  woof  threads  close  enough  together  to  make  the  woven  part  over  the 
hole  as  strong  as  the  original  texture.  The  point  of  the  needle  may  serve  to 
lay  the  threads  into  a close  web  as  the  batten  does  in  the  loom.  In  weaving 
in  the  woof  threads  in  a very  large  darn,  it  is  well  to  begin  in  the  middle 
instead  of  at  one  end,  as  the  hole  is  more  apt  to  keep  its  correct  shape.  Loops 


DARNING 


87 


must  be  left  in  the  darning  cotton  as  the  thread  turns  back  in  both  warp  and 
woof  so  as  to  allow  for  the  stretching  of  the  stockinet  and  the  shrinking  in 
washing.  The  darn  should  lie  perfectly  flat. 

Practice. — Take  a piece  of  coarse  stockinet,  4x4  inches.  Cut  a few 
threads  in  the  center  of  the  web  and  the  broken  ladders  can  then  be  stretched 
into  a hole.  Repair  according  to  the  rule,  catching  the  loops  and  making  a 
diamond-shaped  darn.  As  the  material  is  new  the  darn  does  not  need  to  ex- 
tend far  beyond  the  hole. 


DARNING  WOVEN  MATERIAL. 


Rule. — Woven  material  which  has  been  torn  may  be  repaired  by  weaving 
back  the  broken  threads.  In  fine  damask  where  a small  hole  has  been  torn 
the  entire  pattern  may  be  woven  back,  but  in  most  instances  a plain  dam  is 
adequate  for  the  purpose.  Where  there  is  a worn  place  or  a slit  rather  than 
a hole  a plain  running  darn  will  suffice.  The  repairing  thread  should  repro- 
duce the  original  as  nearly  as  possible.  The  raveled  warp  threads  of  the  same 
material  give  the  most  satisfactory  results.  Wool  may  be  threaded  by  waxing 
it  or  by  twisting  a cotton  thread  in  with  it.  If  wool  raveling  cannot  be  obtained, 
silk  (one  shade  darker)  may  be  split  into  thirds  and  one-third  used  for  the 
work.  Silk,  however,  catches  the  light  and  shows  more  than  the  raveling  of 
the  material.  Whatever  threads  are  broken  should  be  replaced  as  closely  as 
is  needed  to  hold  the  material  well  together.  A few  rows  of  stitches  are  often 
enough  to  hold  a slit  together  in  wool  materials  where  the  strain  is  not  great, 
but  in  cottons  and  linens  a close  mass  of  replaced  threads  is  necessary  to  sustain 
the  strain  of  laundering.  If  threads  are  severed  in  one  direction  only,  such 
as  warp  threads,  those  alone  need  to  be  replaced.  If  both  warp  and  woof 
threads  are  broken  both  must  be  reinserted.  The  work  is  done  on  the  wrong 
side  of  the  cloth  as  far  as  possible.  A running  stitch  is  made  back  and  forth 
over  the  tear,  leaving  a little  loop  each  time  the  direction  is  changed.  The 
distance  beyond  the  tear  covered  by  the  darn  depends  on  the  strength  needed. 
In  new  material  a few  stitches  on  either  side  of  the  break  are  enough.  It  may 


Fig.  34. — Darning  of  a Diag- 
onal Tear. 


Fig.  33. — Darning  of  a 
Hedge  Tear. 


be  necessary,  however,  to  strengthen  weak  threads  by  carrying  the  darn  some 
distance  beyond  the  tear.  In  some  materials,  such  as  damask,  when  the  edge 
of  the  slit  is  reached  the  thread  should  go  over  on  one  side  and  under  on 
the  other,  alternating  this  in  succeeding  lines  (see  Fine-Drawing).  In  cloth 


38 


A SEWING  COURSE 


it  is  well  to  bury  the  stitches  in  the  material.  The  work  must  be  carefully 
done  so  that  the  darn  will  be  flat  and  the  edges  will  be  neatly  joined  together 
and  not  frayed.  The  stitch  should  show  little  on  the  right  side.  In  a hedge 
tear  (two  sides  of  a square)  both  warp  and  woof  threads  must  be  inserted  at 
the  corner  where  the  two  breaks  join.  This  will  make  a square  warp  and 
woof  darn  at  the  corner.  (Fig.  33.)  In  a diagonal  tear  (Fig.  34),  the  same 
condition  usually  must  be  met,  i.  e.,  warp  and  woof  threads  are  to  be  inserted. 
The  warp  threads  are  put  in  first  as  far  beyond  the  slit  as  need  be,  the  woof 
threads  need  not  be  so  numerous  as  the  warp,  but  should  be  sufficient  to  keep 
the  slit  from  stretching  in  that  direction.  At  times  one  line  of  repairing  threads 
can  be  omitted  or  this  class  of  tear  can  be  darned  diagonally  across  the  ma- 
terial, but  at  right  angles  with  the  cut.  A hole  which  is  too  large  for  ordinary 
darning  may  need  repair.  It  is  often  better  to  place  a piece  of  the  same 
material  underneath  and  darn  down  the  raw  edges  on  it  than  it  is  to  hem 
or  overhand  a patch  on  the  garment.  The  piece  placed  at  the  back  must 
exactly  match  the  original.  It  should  be  so  placed  that  the  right  side  of  it  as 
well  as  the  warp,  woof  and  ply  (if  it  has  any)  should  match  the  surface.  This 
piece  may  be  carefully  run  on  to  the  body  of  the  garment  with  an  irregular 
running-stitch  showing  as  little  as  possible  on  the  face.  Warp  raveling  of  the 
material  may  be  used  for  the  darning  which  is  done  on  the  right  side,  the  raw 
edges  should  be  overcast.  The  ragged  edges  should  be  cleared  from  the  hole. 
The  loops  must  be  taken  under  the  surface  and  the  stitches  must  not  extend 
across  the  patch  if  the  darn  can  be  made  strong  without  it.  A human  hair 
can  be  used  for  darning  with  excellent  results. 

Practice. — Take  a piece  of  colored  cashmere,  4x4  inches.  Four  holes  are 
to  be  cut  in  it.  One  can  be  placed  in  each  corner.  (1)  A slit  across  the  warp 
threads.  This  may  be  darned  on  the  wrong  side  with  warp  ravelings  of  white 
muslin  to  clearly  indicate  the  stitches.  They  should  show  as  little  as  possible 
on  the  right  side.  A running  darn  is  to  be  used.  It  is  to  be  placed  back  and 
forth  along  the  warp  as  these  threads  are  severed.  When  the  edge  of  the  slit 
is  reached  let  the  alternating  rows  of  stitches  go  under  and  over  the  edge.  (See 
Rule  for  Darning  Woven  Material.)  (2)  A diagonal  severing  of  warp  and 
woof  threads  is  to  be  repaired.  (Fig.  34.)  Work  on  the  wrong  side  of  the 
material.  Replace  the  warp  threads  first,  then  the  woof  with  the  alternating 
running  stitch  according  to  the  rule.  Use  warp  ravelings  of  cashmere.  (3)  A 
hedge  tear.  Half  of  this  tear  is  along  the  woof,  the  other  half  is  along  the 
warp.  Use  warp  ravelings  of  cashmere  or  split  silk  one  shade  darker  than  the 
material.  Work  on  the  wrong  side  of  the  cashmere.  Replace  first  the  warp 
threads  and  then  the  woof  with  the  alternating  running-stitch,  making  a square 
darn  at  the  point  where  both  the  warp  and  woof  threads  are  severed.  (Fig. 
33).  (4)  A worn  place  too  large  for  ordinary  darning.  Cut  a small  hole  in 

the  material;  place  a piece  of  it  at  the  back  and  repair  according  to  rule. 

Suggestion. — The  darning  of  fine  material,  whether  in  stockinet  or  woven 
cloth,  requires  judgment,  patience  and  control  of  the  hand.  It  is,  however, 
possible  through  lessons  in  weaving  and  coarse  sweater  darning  to  give  a good 
preparation  for  it.  In  early  primary  grades  the  lessons  in  weaving  (see 
Weaving)  should  be  connected  with  ideas  of  repairing.  Knitting  also  should 
be  contrasted  with  weaving  as  a means  of  constructing  material.  A toy  used 
by  children  for  knitting  horse  lines  will  serve  to  make  clear  the  difference 
between  the  construction  of  knitted  and  woven  material.  It  is  only  a spool 
with  four  pins  in  one  end  arranged  at  equal  distances  around  the  hole.  If  a 


DARNING 


larger  spool  is  used  and  more  pins  are  added  a little  form  like  a golf  stocking 
can  be  made  easily  by  the  children.  The  repairing  stockinet  by  a warp 
and  woof  darn  may  be  discussed  and  by  the  third  school  year  coarse  sweater 
material  may  be  darned.  Steps  such  as  these  make  a foundation  for  the  pre- 
sentation of  the  subject  in  a later  grade. 

With  classes  that  are  not  expert  in  hand  work,  with  younger  children, 
or  with  poor  varieties  of  stockinet,  a running  darn  in  and  out  of  the  material 
may  be  used  in  place  of  the  more  difficult  variety  where  the  loops  of  the  knit- 
ting are  caught  wiith  each  stitch. 

It  is  well  for  classes  to  have  experience  beyond  merely  practicing  darning. 
Let  them  bring  from  home  stockings,  knitted  underwear  or  woven  garments, 
and  repair  them  in  the  class  or  let  them  make  small  parts  of  garments  such 
as  sleeves,  skirts,  waists,  drawers,  etc.,  and  darn  them  in  various  ways.  This 
will  give  them  experience  in  the  judgment  of  ways  and  means  of  repairing 
which  cannot  be  obtained  from  a practice  piece  cut  from  new  material. 
The  schools  fail  often  to  make  the  lessons  in  darning  practical,  through  omit- 
ting the  discussion  of  the  problems  which  are  met  in  the  home.  The  teacher 
must  have  these  points  considered.  Lessons  in  patching  can  well  be  given  at 
the  same  time  as  the  two  methods  of  repair  are  almost  inseparable. 

Where  a large  hole  is  worn  in  a stocking  or  in  knitted  underwear  a piece 
may  be  set  under  and  patched  down  with  the  herring-bone  stitch.  (See  Flan- 
nel Patch.)  Care  must  be  taken  that  each  loop  of  the  stockinet  is  caught  or 
the  ladders  will  stretch  into  a hole. 

A review  of  weaving  or  the  presentation  of  darning  to  an  older  class  who 
know  nothing  of  the  principle  of  it  should  follow  an  outline  of  thought  such 
as  the  following.  The  following  is  given  as  a suggestion  for  organizing  dis- 
cussion and  for  developing  thought.  The  standpoint  is  of  a class  who  have 
had  a preparation  for  the  subject  in  early  grades.  A part  of  the  outline  can 
accompany  each  one  of  a series  of  lessons  or  the  teacher  can  set  different  sub- 
jects from  it  for  the  class  to  think  over  and  discuss. 


OUTLINE  OF  WEAVING  AND  DARNING. 


I.  WEAVING. 

Illustrations. — Woven  materials  of  vari- 
ous kinds  such  as  canvas,  plain 
weaving  in  muslin  and  wool,  diagonal 
and  pattern  material;  a loom;  pic- 
tures of  looms,  illustrations  on  the 
board. 

(I)  Recalling  Former  Work. 

1.  Kindergarten  paper  weaving,  weav- 
ing rugs  and  mats  on  cards  and  the 
loom,  darning  on  coarse  sweater  ma- 
terial. 

(II)  Topics  for  Discussion. 

1.  The  loom,  warp,  woof,  shuttle,  selv- 
age, batten,  treadles  and  the  inter- 
lacing of  threads;  setting  up  a loom; 
ways  of  distinguishing  warp  from 
woof  without  the  selvage;  the  differ- 
ence between  basketry  and  weaving, 
and  the  difference  between  plain  and 
fancy  weaving. 


II.  KNITTING. 

Illustrations. — Stockinet,  knitted  under- 
wear, sweater  material,  spool  knitting, 
pictures  of  knitting  machines,  black- 
board diagrams,  etc., 

(I)  Recalling  Early  Work. 

Golf  stocking  knitted  on  spool,  and 
sweater  material  darned. 

III.  DARNING  STOCKINET. 

Illustrations.  — Stocking-web  darning, 
children’s  work  from  various  schools, 
stockinet  and  sweater  material  and 
samples  of  the  darning  of  them ; 
blackboard  illustrations,  etc. 

(I)  Connecting  the  new  Subject  with 

Weaving  and  Knitting. 

(II)  Stocking- Web-Darning  (for  pur- 

poses of  comparison). 

1.  Use  of  this  manner  of  darning  in 
knitting-factories. 

2.  Method  of  repairing  discussed. 


90 


A SEWING  COURSE 


(III)  Warp  and  Woof  Darn. 

1.  Investigating  the  material  and  the 
hole  to  be  repaired. 

(1)  Ascending  and  descending  loops, 
ragged  edges  of  the  hole  and  quality 
of  repairing  thread  needed. 

2.  Method  of  repairing. 

(1)  Ways  from  which  to  choose. 

a.  Running  darn. 

b.  Picking  up  the  ascending  and  de- 
scending loops. 

c.  Diagonal  darn. 

(2)  Steps  in  the  work. 

a.  Darning  thread  to  be  used. 

b.  Position  of  hand. 

c.  Inserting  warp  threads. 

(a)  Preparing  the  hole. 

(b)  Strengthening  the  material  be- 
yond the  hole. 

(c)  Crossing  the  hole. 

I.  Catching  all  loops  on  the  edge 
of  the  hole. 


II.  Leaving  loops  of  the  repairing 
thread  on  the  edge  of  the  darn. 

(d)  Shape  of  the  darn. 

d.  Inserting  the  woof  threads. 

IV.  DARNING  WOVEN 
MATERIAL. 

Illustrations. — Various  woven  materials, 
school  work  of  children.  Materials 
and  garments  darned  in  different 
ways,  blackboard  diagrams  and  pho- 
tographs. 

(I)  Connecting  this  Subject  with  For- 

mer Ones. 

(II)  Method  of  Repairing. 

1.  Replacing  the  exact  pattern  by  weav- 
ing back. 

2.  Replacing  broken  threads  by  a warp 
and  woof  or  diagonal  darn. 

(1)  Break  across  the  warp,  break 
across  the  woof,  break  diagonally 
across  both  warp  and  woof,  a hedge 
tear  and  darning  in  new  material. 


PATCHING 


91 


Nos.  38,  39,  40,  41  and  42.  PATCHING. 

Use. — A piece  set  in  a garment  to  take  the  place  of  a worn  or  torn  part. 
A patch  is  used  when  the  hole  is  too  large  to  be  darned. 

There  are  many  ways  of  patching.  Different  kinds  and  values  of  ma- 
terials and  the  amount  of  strain  which  will  be  put  upon  the  repaired  portion 
call  forth  different  treatment.  The  repairing  necessary  in  garments  when 
certain  parts  have  worn  out  and  must  be  replaced,  such  as  cuffs  on  shirt 
waists  and  hems  on  skirts,  is  also  called  patching,  but  it  requires  special 
knowledge  of  the  making  of  the  different  parts  needing  renewing. 

General  Rules. — It  is  better  to  take  an  old  piece  of  the  same  material 
for  the  patch  as  the  new  will  often  tear  away  the  fabric.  If  the  old  cannot 
be  obtained,  new  material  of  a lighter  quality  than  the  original  condition  of 
the  old  will  serve  better  in  a very  old  garment  than  the  original.  The  pat- 
tern, if  there  is  one,  should  be  very  carefully  matched;  the  right  side  of  the 
patch  should  come  on  the  right  side  of  the  material;  warp  threads  should 
join  warp  threads  and  the  woof,  the  woof.  If  there  is  a nap,  as  in  flannel, 
it  must  run  the  same  way  as  it  does  on  the  garment. 

The  worn  place  must  be  examined  to  decide  on  the  size  of  the  hole  as 
well  as  on  any  weak  parts  beyond  it  which  may  need  strengthening.  The 
character  of  the  material  and  the  strain  it  must  bear,  must  be  considered  to 
determine  the  manner  of  repairing.  When  the  garment  is  very  old,  worth 
little  trouble,  and  does  not  have  to  be  laundered,  the  simplest  means  of  patch- 
ing may  be  used,  such  as  running  or  hemming  the  right  side  of  the  garment 
to  the  patch  and  overcasting  the  raw  edges  on  the  wrong  side.  If,  however, 
the  material  is  of  value,  the  strain  on  the  place  small  and  the  repair  must 
be  as  invisible  as  possible  the  patch  may  be  cut  the  exact  size  of  the  hole, 
and  darning  or  fine  drawing  may  be  used  to  hold  it  in  place.  When  a very 
substantial  patch  is  needed  in  a garment  which  will  be  laundered,  a quite 
different  treatment  will  be  required.  In  such  cases  both  the  right  and  the 
wrong  side  of  the  garment  must  be  strong  and  complete.  To  prepare  for  this 
there  must  be  careful  calculation  of  the  exact  size  needed  for  the  patch.  The 
hole  and  any  weak  parts  must  be  covered  and  folds  must  be  turned  in  on 
the  garment  and  on  the  patch.  The  thread  for  repairing  depends  on  the 
character  of  the  material.  Where  seams  are  to  be  made  fine,  strong  thread 
should  be  used. 

When  the  size  of  the  part  needing  strengthening,  the  manner  of  repair- 
ing it  and  the  required  dimensions  of  the  patch  have  been  considered,  the 
hole  must  be  prepared  for  patching.  If  a square  or  oblong  patch  will  serve 
best,  the  center  of  the  place  needing  it  must  first  be  found.  A crease  (or  a 
line  of  basting  stitches)  should  be  made  down  the  warp  through  this  center, 
and  another  crease  should  be  made  along  the  woof.  Both  creases  should  ex- 
tend well  beyond  the  hole.  Where  the  lines  cross  (or  should  cross  if  a hole 
is  worn)  is  the  center  of  the  hole.  The  hole  must  now  be  cleared  and  pre- 
pared. It  is  usually  cut  square  or  oblong  (circular  patches  are  seldom  de- 
sirable. Irregular  edges  are  sometimes  left  in  wool  material  which  is  to  be 
darned  down  on  the  patch.)  The  piece  cut  out  of  the  garment  may  be  used 
as  a guide  in  matching.  If,  however,  a hole  has  been  worn,  the  repairing 
material  can  be  slipped  underneath  and  the  pattern  matched.  The  center 
of  the  patch  as  well  as  the  garment  should  be  indicated  by  creased  or  basted 


& 


A SEWING  COURSE 


lines.  Measure  the  patch  from  its  center  along  the  creased  lines  and  cut  it 
out  as  exactly  as  possible.  Prepare  it  according  to  its  special  requirements. 
When  folds  must  be  made  on  the  raw  edges  of  the  patch,  turn  two  opposite 
sides  before  folding  the  clear  sides  over  them  so  there  will  be  regularity  at 
the  corners.  The  creased  lines  in  both  the  garment  and  the  patch  should  make 
the  final  matching  an  easy  matter. 

Suggestion. — Patching  requires  judgment  on  the  part  of  the  worker. 
It  is  not  enough  to  simply  teach  a child  how  to  make  a certain  kind  of  patch 
under  given  circumstances.  She  should  have  experience  in  deciding  what  to 
do.  It  is  better  not  to  rely  on  dictation  for  teaching  the  subject.  Each  step 
should  be  thought  out  and  various  kinds  of  holes  cut  by  the  children,  so  they 
may  learn  to  calculate  the  size  of  the  patch  for  themselves. 

The  same  kind  of  hole  in  varying  materials  necessitates  an  entirely  dif- 
ferent treatment.  For  illustration,  where  a worn  place  in  silk  merely  requires 
a piece  of  the  same  placed  underneath,  matching  the  pattern,  but  held  down 
with  a minimum  of  stitches  showing  on  the  surface,  a similar  worn  place  in 
a linen  pillow-case  must  be  patched  and  strongly  sewed,  with  hems  turned 
back,  that  it  may  stand  the  laundry.  Comparison  of  ways  of  repairing,  as 
well  as  much  practice,  should  be  given  to  the  classes.  Darning  and  patching 
are  often  required  on  the  same  worn  place.  The  classes  must  consider  how 
best  to  preserve  garments.  A good  gown  is  often  ruined  by  poor  repair. 

Repairing  of  parts  of  garments  such  as  cuffs,  hems,  collars  and  under 
arms,  should  be  discussed  also  by  the  classes.  When  a patch  is  to  be  put 
under  the  arm,  the  seam  should  be  opened,  the  material  separated  from  the 
lining,  the  patch  inserted  and  the  parts  again  united.  The  teacher  should 
bring  to  the  class  garments  requiring  repairing  of  various  kinds  and  also 
examples  of  patching.  The  children  should  also,  when  possible,  bring  small 
garments  needing  repairing  from  home.  Small  articles  or  parts  of  garments 
can  be  made  in  the  class  and  repaired.  The  whole  subject  should  have  thor- 
ough discussion. 

Practice  in  paper  is  an  excellent  means  of  teaching  patching.  Manila  or 
striped  tissue  paper  may  be  used.  In  classes  where  there  is  not  time  to  make 
all  the  different  kinds  of  patches,  certain  varieties  may  be  made  in  paper 
alone  so  the  children  may  get  ideas  on  methods  of  handling. 

Circular  patches  are  sometimes  used  in  table  linen,  in  the  knees  of  boys’ 
trousers  and  in  the  elbows  of  their  coats.  The  wear  on  these  points  makes 
it  sometimes  desirable  to  have  seams  turned  in  the  cloth.  They  can  be  stitched 
in,  stretched  into  shape  usually  without  nicking,  dampened  and  pressed  with 
a hot  iron. 

As  the  object  of  patching  is  to  make  an  invisible  repair,  the  material  to 
be  used  for  the  patch  should  be  as  similar  to  the  garment  as  possible.  The 
use  of  old  material,  the  washing  of  the  new  or  the  fading  of  it  in  the  sun 
often  helps  to  accomplish  this. 

Note. — It  is  advisable  that  each  one  who  will  make  the  following  kinds  of 
patching  should  vary  the  place  and  the  shape  of  the  hole  to  be  repaired  and 
decide  for  herself  on  the  size  of  the  repairing  piece.  For  the  sake  of  clearness 
a definite  shape  will  be  described  in  the  practice  pieces. 


HEMMED  PATCH 


93 


HEMMED  PATCH. 

MATERIALS  FOR  PRACTICE. 

Striped  Gingham  or  Cotton,  No.  80  or  100.  Needle,  No.  10  or  11. 

Plain  Muslin. 

4x4  Inches  or  any  size  desired. 

2l/zx2 y2  Inches.  (This  is  a little  large  but  it  allows  for  fraying.)  The  size 
of  the  repairing  piece  depends  on  the  hole  and  must  vary  with  the  wish  of 
the  worker. 

Application. — On  real  garments,  parts  of  clothing  or  on  household  linen. 

Use. — For  repairing  underclothing,  aprons,  household  linen  and  other 
washable  articles.  Outer  garments  are  rarely  repaired  in  this  way  as  the 
patch  shows  too  much. 

Fitness. — The  counter-hemmed  fell,  covering  all  raw  edges,  makes  a 
strong  patch  which  will  stand  repeated  laundering. 

Rule. — The  shape  of  a hemmed  patch  is  usually  square;  it  may  also  be 
oblong  if  a slit  has  been  torn  down  the  garment,  or  it  may  be  triangular  as 
in  an  under-arm  patch  where  the  seam  makes  the  third  side.  The  General 
Rules  (which  see)  for  the  size  of  the  hole,  the  kind  of  repairing  material, 
the  matching  of  the  pattern,  and  the  creasing  of  the  garment  and  patch,  must- 
all  be  followed.  Careful  calculation  of  the  size  of  the  patch  is  needed  before 
cutting.  Allowance  must  be  made  for  (1)  the  hole;  (2)  the  folds  to  be  taken 
on  the  sides  of  the  hole;  (3)  for  the  width  of  the  fell  (it  may  merely  cover 
the  folds  or  it  may  extend  over  worn  material  beyond  the  hole) ; (4)  for 
folds  on  the  patch.  (In  most  cotton  and  linen  materials  % of  an  inch  is 
wide  enough  for  a fold.)  This  patch  is  placed  on  the  wrong  side  of  the  gar- 
ment. 

The  pattern  must  be  matched  before  cutting  and  the  garment  and  the 
patch  prepared  by  creasing  them  along  both  warp  and  woof.  (See  General 
Rules.)  The  actual  repairing  may  be  done  in  two  ways:  (1)  The  hole  in 
the  garment  may  be  cleared  and  made  ready,  the  corners  nicked  and  the  folds 
turned  back  before  the  patch  is  prepared  and  put  on  the  wrong  side.  (Chil- 
dren have  more  difficulty  with  this  way  of  inserting  the  patch,  as  the  right 
side  easily  stretches  out  of  shape  and  makes  it  hard  to  match  the  pattern.) 
Or  (2)  The  repairing  piece  may  be  prepared,  matched  by  the  creases  to  the 
back  of  the  garment  and  hemmed  neatly  into  place  before  the  worn  material 
is  cut  away  on  the  right  side.  This  is  the  easier  way  of  repairing,  but  there 
is  the  danger  of  pushing  the  scissors  through  the  patch  while  cutting  the 
worn  material  from  the  face.  The  worn  part  must  be  cut  very  carefully, 
allowance  being  made  for  folds  on  the  worn  part  and  for  the  width  of  the 
fell.  When  the  cutting  is  over,  the  corners  must  be  cut  diagonally,  small 
folds  turned  in  on  all  four  sides  and  the  whole  hemmed  neatly  and  firmly 
to  the  patch.  If  a hole  has  not  been  worn  in  the  garment  a little  one  should 
be  cut  in  it  before  the  patch  is  put  on  the  back  to  allow  the  scissors  to  be 
inserted.  In  both  methods  of  inserting  this  patch  the  repairing  piece  is  pre- 
pared by  turning  toward  the  right  side  of  the  material  narrow  folds  on  the 
raw  edges.  A little  miter  may  be  taken  from  each  corner  to  keep  them  from 
being  clumsy  after  folding.  The  corners  must  be  strong.  The  width  of  the 
fell  beyond  the  hemming  on  the  right  side  must  be  the  same  on  all  sides. 


94 


A SEWING  COURSE 


In  strong  linen  patching  an  overhand  and  fell  seam  is  used  instead  of 
the  counter-hemming  just  described.  The  preparation  is  the  same,  but  on 
the  right  side  the  overhand  stitch  is  substituted  for  the  hemming. 

Practice. — Take  muslin  or  gingham  4x4  inches.  Indicate  on  it  in  pen- 
cil or  with  a basting  thread  the  possible  shape  of  a hole  or  worn  place.  Crease 
the  material  through  the  center  of  the  proposed  repair,  along  warp  and  woof. 
Measure  along  the  creases  to  the  edges  of  the  indicated  hole  to  get  the  size 
which  must  be  covered.  If  a piece  is  cut  out  use  it  as  a guide  in  matching 
the  pattern.  Carefully  consider  the  size  to  cut  the  patch,  (1)  the  size  of  the 
hole;  (2)  % of  an  inch  from  each  side  of  the  material  for  the  turn — inch; 
(3)  % of  an  inch  for  the  width  of  the  fell  on  each  side — % an  inch;  and  (4) 
% of  an  inch  fold  on  each  side  of  the  patch — *4  of  an  inch.  Taken  together 
these  equal  the  size  and  shape  of  the  piece  for  the  patch.  If  the  material  is 
new  no  allowance  need  be  made  for  worn  material  beyond  the  hole.  Hem 
the  patch  on  both  sides  according  to  the  1st  or  2d  method  under  the  rule. 
The  patch  should  be  carefully  pressed. 

Suggestion. — See  under  Patching  on  page  92. 


OVERHAND  PATCH. 

MATERIALS  FOR  PRACTICE. 

Striped  or  Figured  Cotton,  No.  80-100.  Needle,  No.  9-11. 

Cloth  (cotton  or  wool).  Silk  No.  A (shade  darker  than  cloth.) 

4x4  Inches  or  any  desired  size. 

2%x2%  Inches.  (This  is  a little  large  but  it  allows  for  fraying.)  The  size 
of  the  repairing  piece  depends  upon  the  hole. 

Use. — A durable,  neat  patch  used  principally  for  outer  garments  of  vari- 
ous materials. 

Fitness. — The  small  overhand  stitch  shows  little,  yet  makes  a strong 
means  of  uniting  the  patch  to  the  garment. 

Rule. — The  General  Rules  for  the  size  of  the  hole,  dimensions  of  the 
patch,  the  matching  of  the  pattern  and  the  creasing  of  the  garment  and  patch 
must  all  be  followed.  In  this  patch  the  edges  are  not  turned  in  on  the  wrong 
side,  but  they  are  overcast  or  have  the  blanket-stitch  over  them.  Larger  folds 
than  in  the  hemmed  patch  must  therefore  be  allowed  on  both  the  garment  and 
the  patch — *4  tol/2  of  an  inch  according  to  the  fraying  of  the  material.  The 
patch  is  sometimes  inserted  from  the  wrong  side.  It  is  easier,  however,  to 
insert  it  from  the  right  side.  The  slight  imperfection  arising  from  the  show- 
ing of  the  slanting  part  of  the  overhand  stitch  is  offset  by  the  greater  diffi- 
culty of  setting  the  patch  in  satisfactorily  from  the  wrong  side. 

In  calculating,  the  size  of  the  patch,  the  hole,  the  worn  part  beyond,  and 
the  allowance  for  good  seams  on  both  garment  and  patch,  should  be  considered. 
If  no  hole  is  worn  in  the  garment,  cut  a small  hole  in  the  center  of  the  worn 
part  and  use  this  piece  to  match  the  pattern.  Crease  the  garment,  cut  the 
patch  and  crease  it.  (See  General  Rules.)  Prepare  the  patch  by  turning 
good  folds  (toward  the  wrong  side  of  the  material)  on  all  its  four  sides.  Lay 
the  patch  on  the  right  side  of  the  garment  with  the  folds  turned  inward, 
baste  carefully  and  overhand  the  patch  to  the  garment,  being  care- 
ful to  catch  with  the  stitches  the  square  folds  at  the  corners  of  the  patch. 


OVERHAND  PATCH 


Turn  to  the  wrong  side,  insert  the  scissors  into  the  hole  and  cut  the  garment 
to  within  the  same  distance  of  the  overhand  stitches  as  the  width  of  the  folds 
turned  on  the  patch.  Cut  diagonally  in  each  corner  toward  the  overhand 
stitches  and  press  the  raw  edges  of  the  garment  beyond  the  patch.  (Fig.  35.) 

This  will  make  the  entire  patch  slip  into 
the  hole  and  therefore  show  little  on  the 
right  side.  Press  carefully. 

In  placing  the  overhanded  patch 
on  wool  material,  warp  ravelings  of  the 
cloth  may  be  used  for  the  sewing  in- 
stead of  split  silk. 

Practice. — If  material  needing  re- 
pairing cannot  be  provided,  take  a piece 
of  striped  or  figured  cotton  or  wool  ma- 
terial. Crease  it  through  the  center 
along  warp  and  woof.  (See  General 
Rules.)  Indicate  on  it  in  pencil  or  by 
basting  the  shape  of  a hole  or  worn  part. 
Cut  a small  hole  in  the  center  (if  one 
is  not  already  worn)  large  enough  to 
insert  the  scissors.  Consider  the  size 
of  the  place  to  be  repaired;  the  size  of 
the  patch  to  cover  such  a hole  would  be 
(1)  the  dimensions  of  the  hole  just  mentioned;  (2)  the  folds  on  all  four  sides, 
i.  e.,  % of  an  inch  allowed  on  each  side  for  the  turning  back  of  material 
after  the  patch  is  sewed  on;  (3)  % of  an  inch  on  each  side  of  the  patch  to 
allow  for  turns.  Taken  together  these  amounts  equal  the  size  and  shape  of 
the  repairing  piece.  This  is  for  plain  material  that  does  not  fray,  larger 
seams  must  be  allowed  for  loosely  woven  material.  Figured  material  needs 
special  consideration  in  matching  the  pattern.  Prepare  the  patch  and  finish 
the  work  according  to  the  rule. 

Suggestion. — See  under  Patching  on  page  92. 


Fig.  35. — Overhanded  Patch. 
(Wrong  Side.) 


flannel  patch. 

Use. — As  flannel  is  not  liable  to  fray,  the  raw  edges  of  the  garment  and 
the  patch  may  be  held  down  with  herring-bone  stitches  and  still  be  sufficiently 
strong. 

Rule. — The  hole  should  be  cut  clear  of  frayed  material  (it  is  usually 
square  or  oblong).  The  patch  should  be  cut  from  % to  % an  inch  larger 
than  the  hole,  be  placed  directly  over  it  without  turning  in  any  of  the  raw 
edges  and  be  basted  into  place.  Care  must  be  taken  in  matching  the  right 
side  of  the  flannel,  the  warp,  woof  and  ply.  The  patch  should  be  held  in 
place  on  both  right  and  wrong  sides  by  a fine  herring-bone  stitch  (see  direc- 
tions) over  the  raw  edges  of  the  material.  The  stitch  is  usually  strong  enough 
if  it  goes  through  the  material  on  one  side  only,  and  on  the  other  side  if  it 
goes  into  but  one  thickness  of  flannel.  For  turning  the  square  corners,  see 
Fig.  42.  The  repairing  thread  is  usually  cotton  or  silk. 


96 


A SEWING  COURSE 


Practice. — As  the  herring-bone  stitch  will  later  be  practiced  in  the 
Sewing  Course,  it  is  not  necessary  to  make  a special  practice  piece  for  patch- 
ing flannel  unless  the  worker  desires  to  do  so. 

Stockinet  and  woven  underwear  may  also  be  patched  by  using  the  her- 
ring-bone stitch. 

Suggestion. — It  is  well  for  a class  to  practice  on  the  repair  of  knitted 
underwear  using  the  herring-bone  stitch  over  the  raw  edges. 


DAMASK  PATCH. 

MATERIALS  FOR  PRACTICE. 

Damask,  Flourishing  Thread,  No.  1000.  Needle,  No.  10. 

4x4  Inches  or  Ravelings  of  Damask  (warp.)  Fine  Darning. 

ANY  DESIRED  SIZE. 

lxl  Inch  or  depending  on  the  size  of  the  hole. 

Application. — On  napkins,  doilies  and  covers  brought  from  home. 
Use. — Repairing  tablecloths,  napkins  and  household  linen,  especially  in 
fine  closely  woven  damask. 

Varieties. — Damask  patching  should  be  as  neat  and  invisible  as  possible 
on  both  sides  of  the  material.  The  overhanded  and  felled  patch  (see  Rule 
for  Hemmed  Patch)  is  frequently  used,  but  shows  too  much  for  fine  damask. 
The  wrong  side  of  an  overhanded  patch  (see  directions)  is  unsightly  and 
therefore  not  fitted  for  table  covers  or  napkins.  When  the  hole  in  fine  damask 
is  not  too  large  the  pattern  may  be  darned  in.  (See  Weaving  and  Darning.) 
When  a slit  has  been  made  in  it  the  wrong  side  may  be  held  together  by  over- 
casting, pressed  open,  and  ravelings  of  the  damask  may  be  woven  back  and 
forth  over  the  place  on  the  right  side,  repeating  the  pattern  as  far  as  pos- 
sible. After  washing  and  careful  pressing,  this  repair  should  show  very  lit- 
tle. When  there  is  a good-sized  hole  in  fine  damask,  a strong  and  neat  patch 
may  be  inserted  by  fine  drawing.  (Fig.  36.)  The  stitch  may  be  used  alone 
or  combined  with  darning. 


Fig.  36. — Fine-Drawing.  Fig.  37. — Darning  by  Fine  Drawing. 

Rule  for  Patching  by  Fine-Drawing. — The  damask  should  be  as  soft 
as  possible;  it  is  therefore  well  to  wash  new  or  stiff  material.  Cut  away  the 


DAMASK  PATCH 


97 


worn  parts.  The  usual  shape  is  square  or  oblong.  Cut  the  patch  exactly  the 
size  of  the  hole,  being  careful  to  match  the  pattern,  right  side  of  damask,  etc. 
(See  General  Rules.)  Place  the  patch  in  the  hole.  If  the  damask  is  fine  in 
quality  and  woven  very  close,  fine-drawing  alone  may  be  used  to  hold  the 
patch  to  the  material.  It  is  a simple,  alternating  stitch  (Figs.  36  and  37) 
made  toward  the  worker  or  away  from  her  as  in  herring-bone.  It  is  used  fre- 
quently to  hold  together  heavy  cloth  or  selvages  (see  Suggestion  for  Seams). 
The  stitches  are  usually  made  a little  distance  apart  and  slanting  like  a lac- 
ing (Fig.  36),  but  may  be  made  close  together  and  straight  (Fig.  37). 

.In  cheaper  qualities  of  damask,  fine-drawing  should  be  combined  with 
darning  for  holding  together  the  patch  and  the  material.  The  darning  should 
begin  beyond  the  hole  and  the  stitches  and  the  loops  where  the  thread  turns 
back  should  be  buried  in  the  material  as  much  as  possible.  When  the  darn- 
ing stitches  are  within  a few  threads  of  the  hole,  fine-drawing  should  be 
taken  over  the  edge  on  one  side  and  under  the  edge,  the  same  distance,  on 
the  other,  continuing  the  darning  in  the  damask  on  the  other  side.  The  darning 
stitches  should  end  as  irregularly  as  possible.  The  fine-drawing  must  be  direct- 
ly along  warp  and  woof,  to  show  as  little  as  possible  (Fig.  37)  and  it  must 
alternate  in  succeeding  lines.  The  corners  should  be  made  secure  by  crossing 
the  warp  and  woof  darning  at  these  points.  If  carefully  done  this  darn 
should  show  little  when  the  damask  has  been  laundered.  It  is  not  as  strong 
as  the  overhanded  and  felled  patch  (see  Rule  for  Hemmed  Patch),  but  is 
more  satisfactory  in  appearance  for  fine  damask.  A fine  darning  needle  is 
sometimes  used  in  place  of  a sharp  needle  in  this  patch.  Fine-drawing  is 
also  used  for  cloth  patches. 

Practice. — Take  a piece  of  damask  4x4  inches,  cut  a hole  in  the  center. 
Cut  a patch  the  same  size  and  darn  it  in  by  fine-drawing  alone  or  by  fine- 
drawing  and  darning,  according  to  the  quality  of  the  damask. 

Suggestion. — See  under  Patching,  page  92 


CLOTH  PATCH 

MATERIALS  FOR  PRACTICE. 

Wool  or  Worsted  Ravelings  of  Cloth  or  Silk,  No.  A.  Needle,  No.  7-11. 
Suiting,  4x4  Inches. 

Size  of  patch  depends  on  the 
kind  of  patching  selected. 

Application. — Garments  of  wool  or  worsted  brought  from  home. 

Use. — For  repairing  outer  garments  of  wool  or  worsted. 

Cloth  may  be  repaired  in  many  ways  according  to  the  quality  and  value 
of  the  material  and  the  wear  which  it  will  have  to  endure.  The  Overhanded 
Patch  (see  directions)  is  frequently  used  for  light-weight  cloths.  Heavy 
cloth  may  be  repaired  by  fine-drawing  (see  Damask  Patch)  by  burying  the 
stitches  in  the  thickness  of  the  cloth  and  drawing  them  close  together  so  the 
break  will  be  almost  invisible.  Thin  cloth,  such  as  ladies  ’ cloth,  which  may 
be  too  clumsy  to  turn  into  folds,  may  have  the  patch  darned  in. 

Darned-in  Patch  for  Cloth. — The  very  worn  part  should  be  cut  away 
(the  hole  is  usually  made  square  or  oblong  and  cut  clean.  If  it  will  show  less 


98 


A SEWING  COURSE 


with  irregular  edges  they  should  be  left  and  carefully  darned  down.)  The 
patch  may  be  cut  the  same  size  as  the  hole,  and  darned  in,  or  it  may  be 
cut  % inch  larger  than  the  hole.  The  pattern,  the  right  side  of  the  cloth, 
the  warp,  woof  and  ply,  must  be  matched  (see  General  Rules).  When  the 
patch  is  cut  larger  than  the  hole  it  should  be  laid  over  it  on  the  wrong  side 
and  basted  down.  Turn  the  cloth  to  the  right  side  and  with  ravelings  of  the 
material  or  with  split  silk  of  a shade  darker  follow  the  pattern  as  nearly  as 
possible,  darning  the  raw  edges  down  to  the  patch.  The  stitches  should  be 
as  invisible  as  the  strength  needed  will  allow.  Turn  to  the  wrong  side  and 
herring-bone  the  patch  to  the  cloth.  The  stitch  should  not  go  through  to  the 
right  side.  This  patch  is  similar  to  the  one  described  under  Rules  for  Darn- 
ing Woven  Material,  Practice  in  Cashmere  (4). 

Stitched  Patch  for  Cloth. 

Use. — For  a patch  which  will  show  little  but  will  bear  hard  wear. 

Rule. — This  patch  closely  resembles  the  overhanded  patch,  but  is  stitched 
instead  of  overhanded.  The  stitch,  therefore,  does  not  show  on  the  right  side. 
Cut  the  worn  part  away.  The  hole  is  usually  made  square  or  oblong.  Nick 
the  cloth  in  each  corner  and  turn  back  good  folds  (%  to  % an  inch).  Cut 
the  patch  as  for  the  overhanded  patch  (see  directions).  Lay  it  flat  on  the 
back  against  the  turned-back  folds  on  the  edge  of  the  hole.  Pin  it  or  baste 
it  in  place.  Stitch  the  folds  to  the  patch  on  all  four  sides.  When  the  stitch- 
ing is  done  press  open  the  seams  on  the  wrong  side.  This  will  turn  the  patch 
back  on  itself.  Miter  the  cloth  in  each  corner  of  the  patch  so  it  will  lie  flat. 
The  wrong  side  of  the  stitched  patch  will  look  very  much  like  Fig.  35,  except 
the  seam  will  show  no  stitches  and  the  turned-back  corners  of  the  patch  will 
be  mitered  instead  of  square. 

Practice. — Take  a piece  of  cloth,  4x4  inches.  Examine  the  weight  and 
quality  of  it,  decide  on  the  kind  of  patch  best  adapted  to  it  and  repair  accord- 
ingly* 

Suggestion. — See  under  Patching,  page  92. 


FEATHER  OR  CORAL  AND  CHAIN  STITCHING 


99 


Nos.  43  and  44.  FEATHER  OR  CORAL  AND 
CHAIN  STITCHING. 

MATERIALS  FOR  PRACTICE. 

Striped  French  Flannel.  Silk  (color  of  the  stripe).  Needle,  No.  8-9. 
(1/2  inch  stripe)  4x4  Inches.  No.  A — B. 

Application. — On  underclothing,  baby  clothes  and  small  articles  such  as 
collars,  cuffs  and  cases. 

Term. — The  term  Feather  Stitch  is  derived  from  the  graceful  form  of 
the  stitch.  Coral  stitch  is  a more  angular  variety  of  it. 


Use. — An  attractive  stitch  for  ornamenting  all  kinds  of  needle-work. 

Fitness. — The  form  is  attractive  and  can  be  modified  to  suit  different 
occasions.  It  can  be  merely  ornamental  or  can  be  made  strong  enough  to  hold 
down  a hem  in  place  of  the  hemming  stitch. 

Rule. — The  work  is  done  on  the  right  side  of  the  material,  toward  the 
worker.  In  the  single  varieties  of  it  the  stitch  is  taken  alternately  on  the 
left  and  on  the  right  side  of  the  pattern.  The  thread  is  caught  in  a loop  with 
each  stitch  as  in  the  blanket-stitch.  The  number  of  threads  taken  up  each 
time  depends  on  the  pattern  chosen.  Feather  stitching  proper  is  taken  diag- 
onally across  warp  and  woof  threads.  (Fig.  38.)  In  the  coral  stitch  variety 
the  needle  goes  along  a thread  of  the  material.  (Fig.  38.)  (In  the  design 
the  coral  stitch  is  made  double.)  The  stitch  must  be  made  accurately  to  look 
well.  The  width  and  relation  of  one  stitch  to  the  other  never  varies  during 
the  progress  of  the  work.  The  position  is  over  the  first  finger  or  first  two 
fingers  of  the  left  hand.  The  work  is  begun  with  a knot  or  an  end  of  thread 


100 


A SEWING  COURSE 


may  be  left  on  the  wrong  side  to  be  sewed  down  afterward.  The  needle  is 
brought  to  the  right  side  and  inserted  again  a few  threads  distant,  but  on 
a direct  line  horizontally.  The  stitch  is  left  loose  while  the  needle  is  brought 
out  a few  threads  below  and  caught  through  the  loop  in  the  thread.  The 
variety  in  form  is  made  by  this  downward  stitch;  it  may  be  made  vertically 
along  a thread  of  the  material  or  may  be  inserted  diagonally  toward  the  cen- 
ter of  the  pattern.  A new  stitch  should  begin  at  the  same  height  as  the  bot- 
tom of  the  last  on  the  opposite  side  of  the  pattern.  (Fig.  38.)  In  fastening 
off  take  the  thread  to  the  wrong  side  and  finish  with  a couple  of  backstitches 
under  the  last  stitch,  or,  if  using  heavy  crochet  cotton,  leave  the  end  to  be 
sewed  down  with  fine  cotton.  In  taking  a new  thread  fasten  securely  and 
bring  to  the  right  side  through  the  last  loop.  Each  of  the  single  varieties 
may  be  varied  by  taking  from  two  to  four  stitches  on  a side.  When  this  is 
done  the  stitches  must  be  placed  close  together  (Fig.  39),  or  a straggly  ef- 
fect will  result.  The  patterns  may  be  again  varied  by  uniting  them  with  other 
fancy  stitches  such  as  the  chain  stitch  and  French  knot. 

Practice. — Take  striped  flannel,  4x4  inches.  Four  varieties  of  stitches 
are  to  be  placed  between  the  stripes  (in  every  other  one  the  flannel  being  cut 
between  the  stripes).  The  work  should  be  fine  and  dainty  and  the  stitches 
may  be  arranged  in  the  following  order — (1)  a row  of  chain  stitching  down 
the  center  (Fig.  41)  ; (2)  the  single  feather  stitching  made  diagonally  across 
the  threads  (Fig.  38)  ; (3)  the  single  coral  stitch  (Fig.  38);  (4)  two  rows 
meeting  of  fine  treble  feather  stitching  (Fig.  39). 

Suggestion. — Canvas  may  be  an  aid  in  learning  feather  stitching,  and 
the  details  can  be  grasped  by  quite  young  children,  but  fine  work  on  gar- 
ments requires  expert  handling.  The  stitch  is  used  on  all  materials  and  may 
be  worked  in  embroidery  cotton,  crochet  cotton,  silk,  linen  or  wool.  It  makes 
a very  attractive  trimming  for  underclothing;  strips  and  bands  may  be  fin- 
ished with  it  in  place  of  stitching.  In  connection  with  drawn  work  beau- 
tiful effects  can  be  obtained  for  children’s  clothing,  underclothing  or  house- 
hold uses.  May  useful  little  articles  can  be  made  and  ornamented  with  feather 
stitching. 

SMALL  TRAVELING  CASE. 


Take  a piece  of  linen  or  soft  colored  cotton  material  such  as  chambray 
9x6  inches.  At  one  end  of  it  cut  from  each  corner  a triangle  which  will  be  l1/^ 
inches  on  its  straight  sides.  Make  a crease  across  the  material  % inch  below 

the  triangles.  This  will  form  the 
lap  which  will  fold  over  the  bag. 
(Fig.  40.)  Make  a narrow  hem 
on  the  raw  edges  all  the  way 
around  the  piece  and  some  va- 
riety of  feather  stitching  just 
inside  of  the  hemming,  about  % 
of  an  inch  from  the  edge.  (Fig. 
38.)  Turn  the  piece  wrong  side 
out  and  fold  it  together  so  that 
the  straight  end  meets  the  crease 
tti  a m across  the  material  below  the 

Fig.  40.  Flat  Traveling  Case.  triangular  cuts.  Overhand  the 

sides  together  to  make  the  bag.  Turn  the  right  side  out  and  let  the  lap  fall 
over  the  pocket. 


FEATHER  OR  CORAL  AND  CHAIN  STITCHING 


101 


Sew  a tape  or  ribbon  to  the  hem  at  the  center  of  the  lap  and  tie  it  around 
the  case  (Fig.  40),  or  sew  flat  linen  or  lace  buttons  to  the  pocket  below  the  lap 
on  either  side  of  the  middle  of  the  front  and  make  loops  of  buttonhole-stitches 
in  the  lap  to  fasten  over  the  buttons. 

COYER  FOR  TRUNK  TRAY. 

Measure  the  length  and  width  of  a trunk  tray  or  of  the  bottom  of  a 
bureau  drawer.  Add  2 y2  inches  to  the  dimensions  in  each  direction  to  allow 
for  the  hems  and  cut  from  soft  finished  cotton  material  or  from  denim.  Turn 
one  inch  hems  up  on  the  right  side  of  the  material  (two  opposite  sides  first 
and  then  the  ends  over  them).  Square  the  corners,  overhanding  the  sides, 
or  miter  them  according  to  Miter  No.  2.  (See  No.  5.)  Choose  a variety  of 
feather-stitching  (see  No.  43-44)  or  the  herring-bone  (see  No.  45)  and  hold 
the  hems  down  with  it  instead  of  the  hemming  stitch.  Work  on  the  edge 
of  the  hem,  but  not  extending  beyond.  The  stitches  should  continue  to  the 
end  of  the  hems  in  order  that  they  will  cross  each  other  at  right  angles  at 
the  corners.  This  cover  can  be  made  in  small  size  (%  of  the  usual  dimen- 
sion) to  serve  as  an  example  of  the  use  of  the  stitch,  if  the  teacher  wishes 
to  place  it  in  an  interleaved  copy  of  the  Sewing  Course. 

Such  covers  are  very  useful  for  they  keep  the  clothing  in  place  and  clean 
in  travelling  and  the  bottom  of  the  drawer  neat  when  at  home.  A soft  green 
chambray  with  white  feather-stitching  is  serviceable,  but  white  soft  finished 
cotton  cloth  ornamented  in  colored  stitches  is  more  attractive.  The  children 
should  measure,  select  materials  and  stitches  and  decide  on  cost. 


APRON.  (See  Whipped  Hem.) 

The  hems  on  each  side  and  across  the  bottom  of  this  apron  can  be  held 
down  by  feather-stitching  instead  of  hemming. 

CHAIN  STITCHING. 

Use. — As  an  ornamental  finish  on  material  and  for  marking  linen. 

Rule. — The  stitch  is  made  vertically  and  should  be  very  regular.  It  is 
in  the  form  of  the  links  of  a chain.  (Fig.  41.)  The  needle  is  put  back  into 

the  material  in  the  same  place,  from  which  it 
came  out.  One  stitch  is  taken  directly  below 
the  other  (toward  the  worker)  and  the  thread  is 
caught  under  the  needle  with  each  stitch.  (In 
this  way  it  resembles  both  the  feather-stitch  and 
the  blanket-stitch.)  Chain-stitch  machines  re- 
produce this  appearance.  The  position  is  the 
same  as  in  feather-stitching,  but  in  each  stitch 
the  thread  is  held  in  place  by  the  thumb.  (Fig. 
41.)  Begin  and  end  as  in  feather-stitching.  The 
stitch  must  not  be  drawn  too  tightly. 

Practice. — (See  Practice,  Feather-Stitch- 
ing.) 

Suggestion. — The  stitch  may  be  utilized  in 

-irixp  4i fTTAiM  the  classes  on  such  articles  as  towels,  napkins, 

* stitching.  bagg^  underclothing  and  face  clotH  where  a let_ 

ter  can  be  drawn  and  the  chain  stitch  used  for  outlining  it.  Cotton  in  fast 
colors  should  be  used  for  this  marking,  and  the  stitch  should  be  made  small. 


HERRING-BONE 


103 


No.  45,  HERRING-BONE. 

MATERIALS  FOR  PRACTICE. 

Flannel,  Silk  A.  Needle,  No.  9. 

51/2x21/i  Inches  (two  pieces).  Cotton,  No.  60. 

Application. — On  flannel  skirts,  a flannel  patch  or  as  decoration. 

Use. — (1)  To  hold  down  hems,  seams  and  raw  edges  in  flannel  and  other 
woolen  materials,  so  that  they  may  felt  when  washed  and  thus  not  ravel. 
(2)  A means  of  lightly  holding  down  materials  of  all  kinds  in  place  of  hem- 
ming. (3)  An  ornamental  stitch. 

Fitness. — Material  made  of  wool  is  apt  to  shrink  in  washing.  Ordinary 
stitches  are  unnecessarily  strong  and  when  used  on  wool  would  cause  the 
material  to  draw  after  washing.  The  looseness  of  the  herring-bone,  combined 
with  the  natural  felting  of  the  flannel,  makes  the  stitch  a serviceable  one  for 
woolen  fabrics.  The  attractive  form,  easily  adapted  to  various  positions, 
makes  this  stitch  also  useful  as  an  ornamental  finish. 

Rule  for  Herring-Bone. — The  herring-bone  (also  called  catch-stitch) 
is  worked  from  left  to  right,  or  away  from  the  worker.  It  is  a sort  of  cross- 
stitch  taken  alternately  from  side  to  side.  The  position  is  over  the  first  two 
fingers  of  the  left  hand.  The  form  of  the  stitch  may  vary  greatly  in  the 
length  of  the  slanting  line  which  connects  the  crosses  on  either  side,  and  also 
in  the  distance  apart  of  the  crosses.  When  the  stitch  is  once  started  the 
width  of  it  and  the  relative  position  of  the  cross  stitches  on  either  side  must 
remain  the  same.  In  the  most  usual  form  of  the  stitch  the  crosses  on  one 
side  come  exactly  between  the  crosses  on  the  other  side,  so  that  the  bottom 
of  the  stitch  on  one  side  is  directly  opposite  the  top  of  the  stitch  on  the  other. 
On  the  wrong  side  of  the  cloth  the  stitch  looks  like  two  lines  of  running- 
stitches.  Begin  at  the  extreme  left  of  the  material,  and  bring  the  needle 

through  where  the  work  is  to  begin.  In  each 
stitch  the  needle  points  directly  toward  the 
worker.  Make  an  upward  slanting  stitch  toward 
the  left  (or  right,  as  the  case  may  be),  insert  the 
needle  in  the  material  and  bring  it  out  directly 
along  the  warp  or  woof  threads  in  as  deep  a stitch 
as  desired.  Take  now  a slanting  stitch  upward 
toward  the  opposite  side  on  a line  above  the  point 
where  the  work  began,  and  bring  the  needle  out 
the  same  depth  as  the  first  stitch  on  the  opposite 
pIG>  42. Herring-Bone,  side  and  on  a line  with  the  top  of  that  stitch.  Al- 

ternately take  the  stitch  from  side  to  side,  pre- 
serving carefully  the  same  width,  the  same  depth  of  the  stitches  and  the  bot- 
tom of  one  cross-stitch  directly  opposite  the  height  of  the  one  on  the  other 
side.  The  stitch  may  be  begun  with  a small  carefully  concealed  knot  or  an 
end  of  thread  may  be  left  and  sewed  down  afterward.  In  a hem  a double 
stitch  may  be  used  on  the  wrong  side  for  beginning,  ending,  and  taking  a 
new  thread. 

In  a flannel  patch  (see  directions)  the  herring-bone  stitch  is  used  over  the 
raw  edges  of  the  patch  and  of  the  garment.  To  make  the  corners  of  the 
patch  neat  the  stitch  should  be  turned  carefully.  (Fig.  42.) 


104 


A SEWING  COURSE 


Rules  for  Seams  and  Hems  in  Flannel. — Flannel  has  a right  and  a 
wrong  side.  In  making  up  a garment  the  ply  or  nap  should  run  downward. 
When  joining  seams,  the  ply  must  run  the  same  way  on  both  sides  of  the 
seam  and  the  same  side  of  the  material  must  be  turned  outward  (opinion 
differs  as  to  whether  the  full  ply  side  of  the  flannel  should  go  next  to  the 
body).  The  felting  property  of  the  flannel  makes  it  unnecessary  to  make  a 
very  strong  seam.  The  running-stitch,  with  an  occasional  backstitch,  is  strong 
enough.  A hem  does  not  usually  need  to  have  two  turns.  The  raw  edge  may 
be  worked  across  with  the  herring-bone  stitch  alternately  in  garment  and 
fold  and  be  amply  strong.  The  stitch  taken  in  the  fold  may  or  may  not  go 
through  to  the  right  side  of  the  flannel,  according  to  the  strength  required. 
In  a seam  three  methods  of  using  the  herring-bone  are  seen.  (1)  The  seam 
is  pressed  open  and  the  herring-bone  stitch  is  made  on  either  side  over  the 
raw  edges.  This  method  is  strong  and  attractive,  but  takes  time  to  complete. 
(2)  A fell  (see  directions)  is  made  in  place  of  the  ordinary  seam  and  the 
broad  fold  is* herring-boned  down  over  the  raw  edge.  This  is  a rapid  and 
usual  way  of  proceeding  on  ordinary  garments.  (3)  The  seam  is  pressed 
open  and  one  row  of  herring-bone  stitches  placed  down  the  center  of  the 
seam.  This  is  a usual  way  of  finishing  flannel  seams,  but  is  not  as  desirable 
as  the  others,  as  the  real  object  of  the  stitch  is  not  accomplished,  i.  e .,  to  hold 
down  the  raw  edges  of  the  flannel  so  they  may  felt  in  washing. 

Practice. — Take  two  pieces  of  flannel  51/2x21/4:  inches.  Select  either  the 
first  or  second  kind  of  seam  described  and  put  together  the  two  pieces  of  flan- 
nel according  to  the  rule.  Cotton,  crewel  or  silk  thread  may  be  used  for 
the  stitch.  It  should  be  made  small  and  neat  and  should  go  through  to  the 
right  side  of  the  material  on  one  side  only.  Turn  up  at  the  bottom  of  the 
flannel  a one-inch  hem  and  hold  it  down  with  the  herring-bone  stitch.  Both 
sides  of  the  stitch  should  go  through  to  the  right  side. 

Suggestion. — The  first  practice  on  this  stitch  may  be  on  canvas  to  ob- 
tain clear  ideas  of  its  shape  and  size.  It  may  be  made  in  this  way  by  young 
children.  Older  pupils  may  begin  on  the  canvas,  if  necessary,  but  should 
soon  practice  on  flannel.  It  requires  much  care  to  keep  the  stitch  even. 

Small  flannel  skirts  or  little  sacks  may  be  made  and  finished  with  the 
herring-bone  stitch. 

The  stitch  is  used  in  a variety  of  ways.  In  dressmaking  or  repairing 
it  is  used  to  hold  parts  of  materials  together,  such  as  canvas,  velveteen  and 
wool  materials  to  linings.  It  is  used  in  mending  worn  silk  by  making  a net- 
work of  it  on  the  wrong  side,  and  in  patching  wool  materials  it  holds  in 
place  the  raw  edges  of  the  repairing  piece.  It  is  also  used  in  millinery  in 
place  of  hemming,  and  in  fancy  work  it  has  been  adapted  to  a number  of 
purposes,  such  as  shadow  embroidery  in  which  the  herring-bone  stitch  is  made 
on  the  wrong  side  of  sheer  material  and  only  the  small  stitch  at  each  side 
goes  through  to  the  right  side.  A soft  shadowy  effect  is  thus  made  which 
adapts  itself  to  interesting  designs. 

It  is  frequently  called  catch  stitch  instead  of  herring-bone. 


HEMSTITCHING.  DRAWN  WORK 


105 


Nos.  46  and  47.  HEMSTITCHING.  DRAWN  WORK. 

MATERIALS  FOR  PRACTICE. 


Linen  (very  fine  and  sheer),  Cotton,  No.  100-150.  Needle,  No.  10-12. 
4x4  Inches. 

Linen  (moderately  fine  for  drawing  threads), 

5x4  Inches. 

Application. — On  handkerchiefs,  collars  and  cuffs,  towels,  doilies  and 
fancy  articles. 

Use. — For  an  ornamental  finish  for  hems  on  handkerchiefs,  household 
articles,  such  as  towels,  bureau  scarfs  and  table  covers;  bed  linen;  fine  baby 
clothes  and  underwear.  Designs  in  Drawn  Work  more  or  less  elaborate 
are  used  to  decorate  surfaces  as  well  as  hems.  Hemstitching  is  used  as  a 
foundation  for  these  designs. 

Rule  for  Hemstitching. — There  are  many  ways  of  making  the  stitch 
which  are  equally  good.  Some  of  the  more  rapid  ways  do  not  hold  the 
threads  as  distinctly  apart  as  as  the  slower  ones.  The  method  selected  is 
strong  and  satisfactory.  In  hems  for  handkerchiefs  it  is  not  desirable  to  draw 
many  threads  as  the  washing  will  loosen  the  undrawn  ones  and  keep  the  stitch 
from  looking  distinct.  Each  stitch  should  have  a clear  wedge-shape.  De- 
termine the  width  of  the  hem  and  draw  out  carefully  several  threads  from 
the  material  where  the  double  fold  of  the  hem  will  come  ( i . e.,  allow  for  dou- 
ble the  width  of  the  hem  and  also  for  the  little 
fold  on  the  edge).  Turn  a hem  on  the  linen 
to  the  edge  of  these  drawn  threads  and  baste 
carefully.  If  corners  have  to  be  folded  the 
drawn  threads  in  the  hems  will  be  double.  The 
corners  need  not  be  mitered.  Unnecessary  ma- 
terial may  be  cut  from  underneath  (see  Miter 
No.  1),  the  ends  squared  and  overhanded  neat- 
ly. Begin  as  in  hemming  on  the  wrong  side 
of  the  material.  Decide  the  number  of  threads 
to  be  taken  up  each  time  and  keep  to  that  num- 
ber (it  is  not  necessary  to  count  the  threads, 
the  eye  may  be  the  guide).  Fasten  the  thread 
in  the  fold  without  a knot.  Hold  the  work  as 
in  hemming  or  turn  the  hem  toward  the  body 
and  draw  the  stitch  well  up  to  it.  The  object  is  to  keep  each  stitch  distinct 
from  the  other;  some  workers  prefer  one  position  and  some  another.  Put 
the  needle  under  the  number  of  threads  selected  and  bring  it  out  without 
catching  it  in  the  threads.  Put  it  back  over  these  same  threads  and  under 
again  as  at  first,  but  this  time  the  needle  should  go  through  the  folded  hem 
beside  the  last  thread.  (Fig.  43.)  The  following  stitches  are  taken  in  the 
same  way.  In  hemstitching  the  corners  of  handkerchiefs  more  threads  must 
be  taken  as  the  threads  here  are  double.  Make  the  hemstitching  in  the  cor- 
ners look  as  distinct  as  possible. 

Rule  for  Drawn  Work. — The  basis  of  drawn  work  is  hemstitching.  The 
threads  are  drawn  and  fastened  down  on  each  edge  with  hemstitching.  They 
may  then  be  fastened  or  woven  together  in  various  ways  to  form  a lacework. 


Fig.  43. — Hemstitching. 


106 


A SEWING  COURSE 


The  following  description  is  of  three  simple  patterns.  No.  1. — Draw  Ys  of  an 
inch  of  threads,  hemstitch  across  both  edges  taking  up  the  same  threads  on 
each  side.  The  effect  will  be  a series  of  upright  posts.  No.  2. — Draw  a little 
over  Ys  of  an  inch  of  threads.  Make  a double  row  of  hemstitching  as  in  the 
first  pattern.  ' One  thread  will  connect  the  entire  line  in  the  finishing  of  the 
pattern.  To  accomplish  this  fasten  the  thread  in  the  middle  of  the  first  bar 

or  post,  put  the  needle  across  two  bars  beyond,  let 
it  go  over  the  third,  then  under,  and  back  first 
over  and  then  under  the  second.  This  will  twist 
the  third  bar  over  the  second  with  the  thread 
through  it.  Twist  the  fifth  bar  over  the  fourth 
the  same  way  and  continue  across  the  drawn 
threads.  Fasten  off  in  the  last  bar.  No.  3. — 
Draw  Ys  of  an  inch  of  threads,  hemstitch  across 
one  side.  On  the  other  edge  take  for  the  first 
stitch  but  half  of  the  stitch  below ; for  the  second, 
make  one  stitch  out  of  the  halves  of  two  of  the 
stitches  below.  This  will  give  a sort  of  herring- 
bone effect.  These  three  patterns  may  make  an 
attractive  border  by  leaving  Yl  of  an  inch  of 
plain  material  between  them. 

Fig.  44, Drawn  Work.  Practice. — First  practice  piece.  A small 

hemstitched  handkerchief.  Take  sheer  linen  4x4 
inches.  A half  inch  hem  is  to  be  placed  on  all  four  sides.  Allow  for  the 
hem  and  small  fold  in  the  material  (1%  inches)  and  draw  threads  (between 
1-16  and  Ys  of  an  inch  in  fine  material),  on  all  four  sides.  Turn  in  a hem 
to  the  drawn  threads.  Baste  carefully,  especially  at  the  corners,  cut  out 
some  of  the  material  from  under  them  if  necessary  (Miter  No.  1),  but  square 
and  overhand  them  neatly.  Follow  the  rule  for  hemstitching. 


Second  Practice  Piece. — Take  linen  5x4  inches.  A 1 inch  hem  is  to  be 
placed  at  the  bottom  and  several  rows  of  drawn  work  will  ornament  the 
material  above  the  hem.  The  hem  will  be  held  by  one  pattern.  Draw  Ys 
of  an  inch  of  threads  2 Ys  inches  from  one  end.  Fold  the  hem  to  the  edge  of 
the  drawn  threads  and  baste  carefully.  Hemstitch  the  hem  down  with  a 
moderately  fine  stitch.  Complete  the  opposite  side  of  the  drawn  threads 
according  to  the  pattern  described  under  No.  1.  Skip  % of  an  inch  of  linen 
and  use  No.  2 for  the  second  pattern ; again  skip  % of  an  inch  of  linen  and 
use  No.  3 for  the  final  design.  Fine  feather  stitching  may  be  placed  on 
the  plain  linen  between  the  patterns,  if  desired. 

Suggestion. — Hemstitching  may  be  learned  very  readily  on  canvas. 
It  may  be  used  in  a number  of  ways.  Coarse  linen  for  toweling  may  be  pur- 
chased and  little  towels  with  hemstitched  hems  may  be  made  by  the  chil- 
dren. Simple  drawn  work  may  also  be  used  in  this  way.  The  towels  may 
be  marked  by  using  cross  stitch,  chain  stitch  or  satin  stitch  for  the  letters. 
A letter  may  also  be  embroidered  on  the  handkerchief. 

All  the  hems  in  the  apron  described  under  Whipped  Hem  may  be  hem- 
stitched. The  stitch  may  also  be  used  on  small  sheets,  pillow  cases,  collars, 
cuffs  and  lingerie.  Rows  of  simple  drawn  work  with  feather  stitching  be- 
tween make  a most  attractive  finish  for  small  linen  articles  such  as  cases 
of  various  kinds,  bureau  covers  and  tea  table  linen. 


WHIPPED  HEM 


107  . 


No.  48.  WHIPPED  HEM 

MATERIALS  FOR  PRACTICE. 

It  is  well  for  children  to  hemstitch  the  center  of  a handkerchief  before 
the  corners,  as  the  latter  are  more  difficult.  Careful  basting  makes  the  work 
easier. 

Nainsook,  Cotton,  No.  100.  Needle,  No.  11. 

1x13  Inch. 

Application. — Aprons,  underclothing  and  baby  clothing. 

Use. — For  gathering  muslin,  gauze,  lace,  net  and  other  soft  materials. 

Fitness. — The  raw  edge  of  the  material  is  rolled  under  and  gathered 
at  the  same  time.  The  stitch  is  particularly  adapted  to  small  ruffles  of  nain- 
sook, cambric  and  other  sheer  muslins. 

Rule. — Fine  material  is  more  easily  whipped  than  coarse.  The  ruffles 
should  be  cut  from  selvage  to  selvage  as  the  warp  threads  can  be  rolled  more 
easily  than  the  woof.  The  material  should  be  cut  to  a thread.  It  may  be 
torn  into  lengths  and  cut  carefully  afterwards.  The  strip  for  the  ruffle  is 
held  with  the  wrong  side  toward  the  worker  and  the  thumb  and  first  finger 
of  the  left  hand  are  used  to  turn  the  raw  edge  into  a tiny  roll.  It  is  turned 
toward  the  worker.  The  thread  is  fastened  in  the  end  of  the  roll  and  three 

fine  hemming  stitches  hold  it  in  place.  The 
whipping  is  begun  by  inserting  the  needle  at 
the  back  of  the  roll  in  a slanting  direction 
like  an  overcasting  stitch  and  bringing  the 
needle  out  (toward  the  worker)  just  under 
the  roll.  (Fig.  45.)  The  roll  must  never  be 
caught  with  the  stitch  or  the  ruffle  will  not 
draw  up  well.  The  stitches  must  be  very  reg- 
Fig.  45. — Whipped  Hem.  ular  and  not  too  close  together.  After  an  inch 

or  so  is  whipped,  gather  up  the  ruffle  on  the 
thread  and  continue  the  rolling  and  whipping.  The  stitch  is  sometimes  made 
by  inserting  the  needle  first  at  the  front  of  the  roll  instead  of  at  the  back. 

It  is  better  to  use  fine  strong  thread  and  not  to  take  it  too  long,  as  the 
whipping  thread  is  apt  to  break.  The  ruffle  is  usually  cut  twice  or  a little 
more  than  twice  the  length  of  the  band.  In  sewing  a whipped  ruffle  to  a 
band,  both  ruffle  and  band  should  be  divided  into  halves  and  quarters  and 
matched  the  one  to  the  other.  Either  the  band  or  the  ruffle  may  be  held 
toward  the  worker.  In  the  latter  case,  however,  it  is  easier  to  regulate  the 
ruffle.  The  overhand  stitch  is  used  to  sew  the  ruffle  to  the  band.  The  stitch 
must  be  taken  so  that  the  thread  will  fall  into  the  notches  between  the  whip- 
ping stitches. 

Practice. — Take  1x13  inches  of  nainsook.  Roll  and  whip  the  edge  ac- 
cording to  the  rule.  If  the  ruffle  is  to  be  put  to  use,  the  hems  should  be  put 
in  before  the  whipping  is  done.  This  ruffle  may  be  overhanded  to  the  bot- 
tom of  the  apron  described  below. 

Suggestion. — The  whipped  hem  is  less  used  than  formerly.  It  is,  how- 
ever, an  economical  as  well  as  strong  way  of  neatly  trimming  underclothing. 
From  *4  to  % of  a yard  of  nainsook  will  trim  a night-gown. 


108 


A SEWING  COURSE 


Embroidered  edgings  of  various  kinds  can  be  whipped  and  used  on  dif- 
ferent pieces  of  small  underclothing  to  give  practical  application  to  the 
classes.  Little  pillowcases  or  aprons  can  also  be  made  and  trimmed  with 
whipped  hem  ruffles. 


SMALL  APRON  OF  FINE  MUSLIN 

MATERIALS  FOR  PRACTICE. 

Dimity,  Nainsook  or  Cotton,  No.  100.  Needle,  No.  11. 

Barred  Muslin. 

5x6%  Inches. 

6x1  Inch  (band). 

6xiy4  Inch  (2  pieces  for  strings). 

Put  Vs  hems  along  the  5-inch  sides  of  the  muslin.  Take  a % inch 
hem  at  the  bottom.  Gather  and  stroke  the  top  (see  Running  Stitch).  Pre- 
pare the  band  for  a Stitched  Band  (see  Putting  on  Band).  Draw  the  top  of 
the  apron  in  to  3 inches,  stitch  it  to  the  center  of  the  band,  hem  down  the 
other  side  of  the  band  to  the  gathers  and  overhand  the  sides  of  the  band  to 
the  end.  (See  Application  of  Stitches — Aprons.)  The  strings  may  be  pre- 
pared by  putting  narrow  hems  on  the  long  edges  and  turning  % inch  hems 
at  one  end,  the  other  ends  will  be  inserted  in  the  bands. 

This  apron  should  apply  some  of  the  fancy  stitches.  A whipped  hem 
ruffle  can  be  overhanded  to  the  bottom ; hemstitching  can  be  used  in  place  of 
hemming  or  the  hems  can  all  be  held  down  with  feather  stitching.  Each 
child  should  select  her  own  method  of  finishing  her  apron.  The  materials 
are  given  for  a doll’s  apron,  but  the  teacher  must  use  her  discretion  in  giv- 
ing a full-sized  apron  in  place  of  the  small  one. 


CROSS  STITCH 


109 


No.  49.  CROSS  STITCH. 

MATERIALS  FOR  PRACTICE. 

Penelope  Canvas  or  Scrim,  Colored  Wool  Tapestry  Needle. 

5x5  Inches  (Crewel  or  Saxony.)  ' 

Colored  Silk  EE. 

Application. — On  towels,  sheets,  washcloths  and  household  articles. 

Use. — For  marking  underclothing,  holding  bands  to  the  seams  of  waists 
in  dressmaking,  and  for  an  ornamental  finish  in  fancy  work. 

Fitness. — The  form  is  attractive  and  the  work  is  rapidly  executed  and 
sufficiently  enduring  for  the  purpose. 

Rule. — The  stitch  is  double  and  consists  of  two  slanting  parts  crossing 
each  other  on  the  right  side  of  the  material,  and  of  two  straight  lines,  which 
may  be  either  vertical  or  horizontal,  on  the  wrong  side  of  the  material.  The 
points  of  the  cross  on  the  right  side  should,  if  enclosed,  form  a perfect  square. 
In  canvas  the  stitch  is  usually  two  threads  high  and  two  threads  wide.  (Fig. 
46.)  The  needle  is  brought  out  on  one  side  and  put  through  to  the  other 
diagonally— this  forms  one  half  of  the  stitch.  It  is  now  crossed  in  the  oppo- 
site way.  In  a design  the  crossing  must  all  be  in  the  same  direction  and  the 
wrong  side  must  be  neat.  It  is  better  to  leave  an  end  of  thread  to  be  worked 
over  by  the  stitches  than  to  begin  with  a knot.  The  fastening  off  can  be  done 

in  the  same  manner.  In  marking,  each  cross  stitch 
should  be  finished  separately  and  the  thread  should 
not  be  carried  from  one  letter  to  another. 

It  is  well  to  practice  on  canvas  before  mark- 
ing linen.  Designs  for  the  letters  can  be  purchased 
or  they  may  be  originated  by  the  worker.  A piece 
of  fine  canvas  or  of  coarse  scrim  can  be  basted  to 
the  linen  over  the  place  where  the  letters  are  to  go. 
The  cross  stitches  can  be  made  on  this  canvas  to 
keep  the  form  accurate  and  when  the  letters  are 
finished  the  threads  of  the  canvas  can  be  pulled 
out,  leaving  the  design  on  the  linen. 

Practice. — Take  a piece  of  Penelope  canvas 
or  of  scrim  5x5  inches.  Turn  a % inch  hem  on 
all  four  sides  and  hold  it  down  with  the  cross 
Fig.  46. — Cross  Stitch,  stitching,  alternating  two  cross  stitches  above  and 

two  below  to  make  an  ornamental  finish  on  the 
edge.  Care  must  be  taken  to  adjust  the  stitches  neatly  at  the  corners;  an 
extra  stitch  can  often  be  taken  here  with  good  effect.  On  the  inside  of  the 
square  place  the  initials  of  the  name  and  the  year  or  other  letters  and  figures 
may  be  made  in  cross  stitches. 

Suggestion. — It  is  unnecessary  for  anyone  to  make  the  entire  alphabet 
on  the  canvas  as  designs  can  be  easily  procured  and  the  work  is  not  difficult. 

This  stitch  is  an  excellent  one  for  children  in  early  grades  to  use  on  bur- 
lap. It  allows  of  so  much  variation  that  they  can  easily  invent  designs  of 
their  own.  It  can  be  used  to  hold  down  the  hems  in  cheese  cloth  dusters. 
In  later  grades  it  may  be  used  for  marking  little  sheets,  pillow  cases  and 


110 


A SEWING  COURSE 


towels.  Care  must  be  taken  to  choose  a cotton  thread  for  marking  which 
will  stand  laundering. 

In  dressmaking  the  cross  stitch  is  used  to  make  the  inside  of  a waist  at- 
tractive and,  at  the  same  time,  to  hold  the  belt  to  the  seams.  The  stitch  is 
made  in  silk  of  a color  to  match  the  silk  seam  binding,  the  overcasting,  or 
the  fans  of  stitches  on  the  bone  casings. 


Nos.  50  and  51.  SATIN  STITCH.  TYING  FRINGE. 

MATERIALS  FOR  PRACTICE. 

Linen.  Cotton,  No.  100.  Needle,  No.  8-10. 

6x6  or  10x10  Inches  D.  M.  C.  No.  25-60  for  Embroidery. 

No.  16  for  the  Filling. 

(Two  letters  stamped  in  the  center  or  at  the  end.) 

Application. — Letters  on  handkerchiefs  and  household  linen,  decoration 
and  lettering  on  underclothing,  decoration  on  collars  and  cuffs.  Fringe  on 
towels  and  doilies. 

Use. — For  marking  handkerchiefs  and  household  linen  and  for  orna- 
menting clothing,  table  covers  and  ecclesiastical  draperies.  It  is  used  on  all 
materials. 

Fitness. — The  close  over  and  over  stitch  with  or  without  a previous 
preparation  in  filling  makes  a substantial  design  which  will  wear  for 
years  and  have  a chaste  and  beautiful  effect. 

Rule  for  Satin  Stitch. — Satin  stitch  (Fig.  47)  requires  patience  to 
learn  and  skill  in  the  working.  It  is  usually  worked  in  a frame.  Hoops  may 
be  purchased  in  which  the  work  may  be  stretched.  For  the  marking  of 
household  linen,  in  letters  of  from  one  to  two  inches  in  size,  it  is  possible  to 
do  good  work  without  a frame.  The  stitch  may  be  either  flat  or  raised.  In 
letters  it  is  customary  to  fill  in  well  the  parts  enclosed  in  double  lines.  The 
preparation  must  be  done  with  the  greatest  care  and  precision  as  irregular- 
ities in  the  padding  show  in  the  finished  work.  Some  workers  begin  by  fol- 
lowing all  the  lines  of  the  design  with  a short  irregular  running  stitch  which 
takes  the  slightest  hold  in  the  material  and  leaves  the  most  of  the  stitch  on 
the  surface.  When  the  design  is  in  double  lines  the  stitch  is  taken  just  in- 
side of  the  marking.  In  padding  the  space  between  the  lines  the  outline 


SATIN  STITCH.  TYING  FRINGE 


111 


stitch  (Fig.  48)  or  the  chain  stitch  (Fig.  41)  are  both  used.  The  work  must 
be  done  in  the  opposite  direction  from  the  satin  stitch  and  be  kept  within 

the  stamped  lines.  The  lines  of  padding  are  made 
up  and  down  within  the  space,  and  one  row  fits 
exactly  into  the  other.  The  number  of  lines  of 
padding  is  increased  where  the  letter  widens  and 
decreased  where  it  narrows.  In  a wide  portion 
several  rows  of  stitches  may  be  piled  one  on  top 
of  the  other  so  that  a rounded  effect  may  be  se- 
cured. Where  veins  occur  in  a leaf  or  a letter  the 
line  is  left  clear,  but  the  surface  is  well  padded 
alongside  of  the  vein.  Finish  all  the  filling  of  the 
letter  before  beginning  the  satin  stitch.  The  whole 
effect  of  the  padding  should  be  neat  and  compact, 
but  the  linen  must  not  be  drawn. 

The  satin  stitch  is  taken  from  side  to  side  of 
the  design  and  toward  the  worker.  Very  little  ma- 
terial is  taken  up  where  the  line  is  single.  When 
the  line  is  double  the  stitch  is  taken  from  line  to  line.  Where  veins  occur 
the  stitch  will  be  taken  from  the  outside  to  the  vein  or  from  the  vein  to  the 
outside,  according  to  the  direction  of  the  work.  The  stitches  should  be  close 
together  without  overlapping.  The  padding  must  be  completely  covered. 
The  stitch  may  be  at  right  angles  with  the  lines  of  the  pattern  or  it  may  be 
slanted  in  either  direction.  When  the  letter  has  been  begun,  however,  the 
same  slant  must  be  kept  throughout,  except  where  it  has  to  be  temporarily 
altered  at  the  curves.  The  usual  direction  is  at  right  angles  with  the  lines  of 
the  design,  i.  e.,  directly  across  the  pattern.  Where  there  are  curves  in  the 
design,  the  stitches  will  need  to  be  crowded  on  the  inner  side,  but  no  gaps 
must  occur  in  the  outer  edge.  The  work  must  be  as  smooth  on  the  wrong 
side  as  on  the  right.  Where  single  lines  occur  the  satin  stitch  is  also  used. 
A very  small  hold  should  be  taken  in  the  linen  and  the  stitches  should  have 
a smooth,  cordlike  effect.  The  irregular  running  stitch  taken  in  the  filling 
will  help  to  secure  the  effect  if  it  is  carefully  done. 

Begin  the  satin  stitch  at  the  extreme  end  of  some  part  of  the  pattern. 
To  fasten  the  thread  take  a running  stitch  through  the  design  to  the  point 
of  beginning.  If  it  is  a curve  care  must  be  taken  to  keep  the  stitch  con- 
tinually in  the  same  relation  to  the  pattern.  Bring  the  needle  to  the  right 
side  and  put  it  back  directly  opposite.  Let  the  stitches  closely  follow  one 
another.  Draw  them  close  that  the  outline  may  be  clear  and  the  work  firm. 
The  work  should  appear  in  the  end  like  a solid  mass  and  not  have  individual 
stitches  pushing  themselves  into  view.  Finish  off  the  thread  in  the  work  and 
begin  another  carefully  either  by  a running  stitch  in  the  unfinished  part 
or  concealed  in  the  finished  work.  Where  a letter  is  not  continuous  the 
thread  must  not  be  taken  across  underneath  from  one  part  to  the  other  unless 
the  distance  is  almost  imperceptible,  but  the  thread  must  be  fastened  off  and 
the  work  begun  again.  It  is  usually  well  to  pad  with  rather  fine  embroidery 
cotton,  as,  with  beginners,  coarse  cotton  will  often  push  up  between  the 
stitches.  The  experienced  worker  judges  from  the  character  of  her  design. 
Fine  embroidery  cotton  should  be  used  for  the  satin  stitch  on  fine  linen. 

Rule  for  Tying  Fringe. — Draw  a number  of  threads  in  the  material 
where  the  top  of  the  fringe  is  to  come.  The  tying  should  be  done  before 


Fig.  47. — a,  Filled;  b, 
Straight  Satin  Stitch; 
os  Sloping  Satin  Stitch. 


112 


A SEWING  COURSE 


raveling  out  the  entire  fringe.  Fasten  the  cotton  first  in  the  solid  material 
just  above  the  drawn  threads,  and  then  in  the  drawn  threads.  The  linen  is 
laid  over  the  first  finger  of  the  left  hand  and  held  tightly  with  the  thumb 
and  the  second  finger.  Lay  the  cotton  straight  along  the  drawn  threads,  put 
the  needle  on  the  left  side  of  the  cotton,  pass  it  under  several  of  the  drawn 
threads,  bring  it  out  under  the  right  side  of  the  cotton  and  draw  it  up  tightly 
to  hold  the  threads.  This  will  make  a tie  in  the  cotton.  Continue  this  on  the 
four  sides.  Some  prefer  to  hold  the  tied  fringe  close  under  the  solid  linen, 
others  leave  a small  space  between.  For  ordinary  linen  No.  100  cotton  is 
fine  enough  for  the  tying.  When  it  is  finished,  fringe  out  the  linen. 

Hemstitching  is  sometimes  used  to  hold  the  fringe  in  place  of  tying. 
A small  overcasting  stitch  may  also  be  used  to  keep  the  fringe  neat  when  it 
is  laundered;  the  effect  is  not,  however,  as  good  as  the  hemstitching  or  the 
tying. 

Practice. — Take  a piece  of  linen  6x6  inches.  It  should  be  moderately 
fine  and  the  threads  should  draw  easily.  If  desired  a piece  of  linen  10x10 
inches  can  be  made  into  a face  towel.  Two  letters  from  1 inch  to  2 inches  in 
length  should  be  clearly  stamped  on  it.  These  letters  should  not  be  elaborate. 
The  old  English  text  is  good.  Carefully  pad  between  the  double  lines  and 
use  the  irregular  running  stitch  on  the  single  lines.  Embroider  the  letters 
with  the  satin  stitch  according  to  the  rule.  When  the  letters  are  completed, 
draw  five  or  six  threads  (on  all  four  sides)  about  % of  an  inch  from  the  raw 
edges.  These  threads  should  be  tied  before  fringing  (see  Kule  for  Tying 
Fringe).  When  the  threads  are  tied  cut  the  raw  edges  carefully  so  they  may 
be  perfectly  even,  and  draw  the  threads  up  to  the  tie. 

Suggestion. — Satin  stitch  for  marking  and  fringe  tying  for  the  raw 
edges  may  be  used  on  small  towels,  table  cloths,  napkins  and  doilies.  The 
French  convent  embroidery  used  on  underclothing  is  to  a great  extent  made 
up  of  satin  stitches,  combined  with  French  knots,  blanket-stitches  and  others. 
Garments  simply  decorated  in  this  way  should  be  brought  to  the  classes  if 
possible  and  discussed.  Art  lessons  should  be  utilized  for  designs  for  collars, 
cuffs,  underclothing  and  blouses.  The  flax  flower  lends  itself  well  for  this 
purpose  and  linen  is  an  excellent  center  for  correlation  with  geography,  his- 
tory, art  and  home. 


EMBROIDERY  ON  FLANNEL 


113 


No.  52.  EMBROIDERY  ON  FLANNEL. 

BLANKET  STITCH,  OUTLINE  STITCH,  SATIN  STITCH  AND 

FRENCH  KNOT. 

MATERIALS  FOR  PRACTICE. 

Flannel,  5x5  Inches.  Silk,  No.  B-E.  Needle,  No.  6-8. 

(A  scalloped  edge  stamped  on  Wool  or  Tapestry  Needle. 

two  sides  and  some  simple  D.  M.  C.  No.  16. 

designs  in  the  center.) 

Application.— On  a small  flannel  petticoat  or  baby  sack. 

Use. — A scalloped  border  of  blanket  stitches  is  used  to  finish  the  raw 
edges  of  many  articles  of  flannel.  It  gives  both  beauty  and  durability  to  the 
raw  edge  and  takes  the  place  of  a hem  in  heavy  material  which  is  too  thick 
to  fold  well.  Small  geometrical  or  flower  designs  are  embroidered  on  infants’ 
sacks  and  petticoats  for  the  purpose  of  decoration. 

Rules. — Scallops  in  Flannel  are  made  with  the  blanket  stitch  (Fig.  23). 
The  outer  edge  should  be  firm  and  substantial  (see  Blanket  Stitch.)  A pad- 
ding of  wool  or  cotton  may  be  made  before  the  blanket  stitch  is  used.  Wool 
is  well  adapted  to  the  flannel,  as  it  shrinks  in  laundering.  An  irregular  run- 
ning stitch,  leaving  most  of  the  wool  on  the  surface,  is  good  for  this  purpose. 
The  outline  of  the  scallop  and  the  space  between  may  be  filled  according  to 
the  raised  effect  desired.  The  stamped  form  of  the  scallop  must  be  carefully 
preserved.  Very  few  filling  stitches  should  meet  where  the  design  is  narrow. 
A heavy  silk  such  as  No.  E or  No.  EE  is  used  for  the  edge. 

Designs  on  Flannel  are  principally  worked  with  the  satin  stitch.  It  is 
seldom  necessary  to  pad.  Stems  and  outlines  are  made  with  the  Kensington 
outline  stitch  instead  of  with  the  satin  stitch  as  on  linen.  Small  flowers  and 
leaves  may  be  merely  outlined  or  the  satin  stitch  may  be  used  to  cover  the 
entire  surface.  In  designs  like  the  daisy  form  the  satin  stitch  may  begin  at 
the  center  of  each  petal  and  be  worked  toward  the  edge,  or  a radiating  stitch 
from  the  center  out  may  be  used.  French  knots  are  frequently  used  in  flan- 
nel for  one  side  of  a leaf  or  flow'er,  or  for  the  centers  of  flowers. 

Kensington  Outline  Stitch.  The  outline  stitch  follows  a traced  line 
and  is  made  away  from  the  worker  (Fig.  48).  The  needle  is  brought  out  at 

the  end  of  the  stem  or  line,  a long  stitch  is  taken 
ahead  on  this  line  and  a short  stitch  back  through 
the  material.  The  stitch  back  may  be  made  either 
to  the  right  or  to  the  left.  The  length  of  the  stitch 
may  vary  according  to  the  requirements  of  the 
design.  The  stitch  resembles  the  backstitch  turned 
wrong  side  out,  i.  e .,  the  rope-like  effect  is  on  the 
right  side  of  the  material  and  the  little  stitches 
with  a space  between  are  on  the  wrong  side.  Where 
a very  substantial  stem  is  needed  the  outline 
stitches  can  be  made  very  close  together.  The  work 
is  held  over  the  first  or  first  two  fingers  of  the 
left  hand. 

The  French  Knot.  These  are  made  in  vari- 
ous  ways.  One  way  in  general  use  is  to  fasten  the 
Fig.  48.  Outline  Stitch,  thread  well  and  bring  the  needle  out  in  the  spot 


114 


A SEWING  COURSE 


where  the  French  knot  is  to  be.  Put  the  needle  down  to  this  place,  wrap 
the  thread  two  or  three  times  around  the  needle,  draw  it  so  that  the  twisted 
thread  is  around  the  needle  close  to  the  spot  intended  for  it,  insert  the  point 
of  the  needle  in  the  material  at  this  same  place,  and  holding  the  thread  tight, 
fasten  the  knot  down  to  the  material  by  drawing  the  needle  and  the  length 
of  the  thread  through  to  the  wrong  side. 

Practice. — Have  a piece  of  white  flannel  5x5  inches  stamped  near  the 
raw  edges  with  a plain  scallop  on  one  side  and  a triple  or  fancy  scallop  on 
the  other.  In  the  plain  space  between  have  a few  simple  sprigs  stamped 
(such  as  conventional  leaves  and  flowers).  Use  the  blanket-stitch  for  the 
scallops;  the  satin  stitch  for  the  leaves  and  flowers;  a close  outline  stitch  for 
the  stems,  and  the  French  knot  for  the  centers  of  flowers  or  for  one  half  of 
some  of  the  leaves.  A number  of  French  knots  may  be  made  close  together 
to  cover  a surface. 

If  the  practice  piece  is  to  be  retained,  cut  the  flannel  close  to  the  scallop 
on  one  side  to  show  the  completed  effect  and  leave  the  flannel  below  the  scal- 
lops on  the  other  side  to  show  the  way  the  work  has  been  done.  In  making 
garments  the  flannel  should  be  washed  to  allow  for  the  shrinking  before  the 
material  below  the  scallop  is  cut  away. 

Suggestion. — Some  article  such  as  a small  flannel  skirt  should  be  made 
by  the  pupils.  In  place  of  having  the  flannel  stamped  in  scallops  a five  or 
ten  cent  piece  may  be  laid  on  the  flannel  and  half  circles  drawn  regularly 
across  the  sides.  These  may  again  be  joined  by  a smaller  inner  circle.  De- 
signs for  the  edge  may  be  drawn  by  the  children.  The  drawing  teachers  in 
schools  should  prepare  the  classes  for  adequate  designing  for  the  decoration 
of  their  clothing.  Very  attractive  yet  simple  designs  may  be  made  and  di- 
rectly utilized  on  garments.  Linen  book  covers  and  portfolios  may  be  de- 
signed and  embroidered  in  the  same  way  that  flannel  would  be. 


Nos.  53  and  54.  COUCHING  AND  APPLIQUE. 

MATERIALS  FOR  PRACTICE. 

Linen  or  Unbleached  Mercerized  Yarn,  Scotch  Needle,  No.  6. 

Sheeting,  6x3  Inches.  Floss,  or  Jute  Threads, 

Material  in  Contrasting  several  strands. 

Color,  2x2  Inches.  Silk,  B or  C. 

Application. — Decoration  of  table  covers,  scarfs  and  bags. 

Use. — Couching  is  a decorative  stitch  for  outlining  a pattern.  It  is 
frequently  used  in  place  of  the  outline-stitch  to  cover  the  cut  edge  of  applique 
work  and,  at  the  same  time,  to  hold  it  down  to  another  material,  and  also  to 
make  a foundation  over  which  other  stitches  can  be  worked,  as  in  Venetian 
embroidery.  In  the  latter,  the  blanket-stitch  is  made  over  the  couched  cord 
to  obtain  a design  in  high  relief. 

Applique  is  the  laying  of  one  piece  of  material  upon  another.  It  takes 
the  place  of  solid  embroidery  in  a design.  Couching  is  very  generally  used 
in  connection  with  it.  Both  couching  and  applique  are  largely  used  in  his- 
toric national  embroideries,  and  have  been  used  by  many  primitive  people. 
They  can  be  utilized  to  advantage  in  the  schools,  even  with  young  pupils. 


COUCHING  AND  APPLIQUE 


ns 

Fitness. — The  soft  rope-like  appearance  of  couching  makes  an  attrac- 
tive outline  and  also  a good  covering  to  the  edge  of  materials.  The  stitch 
which  crosses  the  cord  not  only  satisfactorily  holds  down  the  materials  be- 
neath, but  lends  itself  to  excellent  decorative  effects.  The  ease  and  rapidity 
with  which  beautiful  results  can  be  obtained  by  the  use  of  various  materials 
cut  into  designs  and  laid  on  other  cloth  makes  applique  a valuable,  economical 
and  artistic  means  of  decoration. 


Fig.  49. — Couching. 


Rule. — Couching  is  a species  of  overhanding,  or  of  over-casting,  made 
over  a cord  or  group  of  threads  into  the  cloth  beneath.  The  strand  or  strands 
must  be  as  long  as  is  needed  for  any  part  of  the  design  where  no  break  in 
outline  can  occur  without  injuring  the  pattern.  The  strands  are  held  close 
to  the  outline  or  the  edge  of  the  pattern.  If  the  couching  is  to  cover  another 
material  which  is  to  be  appliqued  by  it  to  the  foundation,  the  cord  must  com- 
pletely cover  the  raw  edges.  The  stitch  which  holds  down  the  strands  is 
made  across  the  cord  at  right  angles  to  it  and  into  the  cloth  beneath.  The 
distance  between  the  stitches  is  a matter  of  choice,  or  according  to  the  im- 
portance of  this  stitch  across  the  cord  as  strengthening  the  applique  beneath. 
To  finish  the  end  of  the  cord  when  the  termination  of  the  pattern  is  reached 
must  depend  on  the  wisdom  of  the  worker.  The  strands  can  be  the  same  size 
throughout  and  be  held  down  so  neatly  and  yet  strongly  that  the  raw  ends 
of  thread  will  not  show ; or  they  can  be  reduced  gradually  until  invisible ; or 
a hole  can  be  made  in  the  material  below  and  the  cord  can  be  fastened  se- 
curely on  the  wrong  side;  or  the  ends  of  the  strands  can  be  pushed  under 
the  applique  and  fastened.  Innumerable  threads  and  yarns  are  used  for  the 
cord,  such  as  crewel,  filoselle,  mercerized  yarn,  jute  and  various  wools.  The 


116 


A SEWING  COURSE 


oross  thread  can  be  made  of  a contrasting  color.  Several  lines  of  couching 
can  be  laid  side  by  side,  and  the  cross  threads  can  be  used  to  attractively 
vary  the  pattern,  by  such  effects  as  diaper  and  basket  designs.  The  strands 
can  be  wound  into  a disk  and  the  cross-stitches  can  be  made  an  attractive 
feature.  Couching  is  also  used  as  a basis  for  work  with  another  stitch.  In 
Venetian  embroidery  it  provides  the  foundation  over  which  a close  blanket- 
stitch  is  made.  The  pattern  is  thus  thrown  into  high  relief. 

Applique  is  made  of  many  materials,  such  as  silk,  velvet,  linen,  denim  and 
others.  The  design  is  made  first  on  paper;  this  is  cut  out  and  serves  as  a 
pattern  for  the  material  which  is  to  be  used  for  the  applique.  If  the  ma- 
terial is  inclined  to  fray,  it  is  well  to  make  the  design  in  thin  paper,  cut  it 
out  and  paste  it  on  the  back  of  the  cloth  before  cutting  the  latter.  The 
design  is  then  laid  on  the  foundation  material  and  basted  or  pasted  in  place. 
The  latter  way  is  used  if  the  pattern  is  very  elaborate,  or  if  it  has  large 
stretches  of  plain  surfaces.  Wrinkles  and  bubbles  in  the  design  interfere 
with  the  beauty  of  the  solid  embroidery  effect.  When  the  pasting  on  of  a 
design  is  finished,  it  should  be  put  under  a press  until  dry.  The  couching 
and  other  needlework  can  then  be  done  upon  it.  In  heavy  or  stiff  materials 
the  double  pasting  is  not  necessary.  In  such  simple  applique  as  would  be 
done  in  most  elementary  and  high  schools  the  thin  paper  design  can  be  pasted, 
if  necessary,  to  the  cloth,  but  when  this  is  cut  it  can  be  basted  to  the  founda- 
tion, instead  of  pasted.  In  place  of  applique,  the  foundation  cloth  is  often 
painted  or  stencilled,  and  couching,  outline  or  blanket-stitch  used  to  finish 
the  edge. 

Practice. — Make  the  design  for  the  applique  and  have  the  color  scheme 
and  the  materials  worked  out  carefully;  the  foundation,  the  applique  and  the 
cross  threads  must  all  be  considered.  Unbleached  color  in  the  foundation 
lends  itself  to  good  effects  in  dull  oranges,  brown,  blues  and  greens  in  the 
applique.  The  strands  for  the  cord  may  match  the  ground,  or  the  applique, 
or  may  contrast,  and  the  over-casting  of  silk  may  be  an  additional  decorative 
feature.  When  these  points  have  all  been  settled,  take  foundation  material 
6x3  inches,  and  the  design  on  thin  paper  which  will  occupy  a space  within 
2x2  inches.  Cut  out  the  design,  paste  it  lightly  and  carefully,  that  no  strain 
may  go  through,  on  the  back  of  the  material  for  the  applique.  Press  it  until 
dry  and  smooth,  cut  out  the  pattern,  lay  it  on  the  foundation  toward  the 
end  and  a little  to  one  side,  and  baste  it  in  place.  Take  several  strands  of 
the  yarn  selected.  Begin  the  work  of  couching  at  a part  of  the  applique 
where  the  fastening  down  will  show  least ; push  the  ends  under  the  applique, 
and  begin  to  overcast  the  strands  through  the  applique  and  the  foundation. 
Be  careful  to  keep  the  overcasting  stitches  near  enough  together  and  on  the 
edge  of  the  pattern  that  the  outline  may  be  perfect. 

Suggestion. — This  stitch  is  useful  even  in  early  grades,  as  it  is  simple 
and  may  be  quickly  executed.  The  art  teacher  can  unite  with  the  sewing 
teacher  in  obtaining  good  designs;  the  cutting  and  pasting  are  good  exer- 
cises in  themselves;;  and  many  articles  can  be  attractively  decorated.  Work 
bags,  sofa  cushions  (large  or  small),  table  covers,  bureau  scarfs,  and  dress 
trimmings  can  be  adapted  to  pupils  from  the  fifth  grade  through  the  high 
school.  It  is  possible  to  use  couching  even  in  earlier  grades,  as  it  is  similar 
to  the  coarse  towel  weaving  which  is  adapted  to  young  pupils.  Excellent 
color  schemes  can  be  worked,  and  very  beautiful  articles  made  at  little  expense. 


DRESSMAKING 


117 


DRESSMAKING. 

SEWING  ON  BRAID,  BINDING  SEAMS  AND  FINISHING  WAISTS. 

Application  op  the  Principles  op  Dress  Construction. — Dressmaking 
is  a subject  for  the  high  school  rather  than  for  elementary  education.  Some 
experience  of  it,  though,  is  well  in  the  seventh  and  eighth  school  years,  espe- 
cially in  some  localities.  The  pupils  are  thus  enabled  to  be  of  use  at  home 
and  in  case  they  do  not  continue  their  education  into  the  high  school,  but 
must  go  to  work  early,  the  experience  may  help  them  in  their  business  life. 
Doll’s  and  children’s  clothing  and  the  making  over  of  garments  offer  oppor- 
tunities for  using  some  of  these  principles.  Simple  clothing  can  be  brought 
from  home  or  the  entire  class  can  work  together  on  one  garment  (either  new 
or  old).  This  can  later  be  used  for  exhibit  or  be  devoted  to  some  worthy 
object.  If  the  higher  grades  have  some  practice  in  these  principles  the  prac- 
tice pieces  will  not  be  necessary  in  the  high  school,  for  the  pupils  can  go  to 
work  immediately  on  their  own  garments. 

In  making  and  repairing  garments  in  the  home  a knowledge  is  needed  of 
accepted  ways  of  sewing  certain  parts.  It  is  well  for  the  teacher  of  sewing 
to  give  attention  to  this  even  if  she  does  not  expect  to  teach  regular  dress- 
making. There  are  many  ways  of  doing  these  necessary  parts  of  garments, 
but  it  is  only  possible  in  the  following  suggestions  to  give  a few  of  these. 
Work  of  this  kind  requires  great  care.  The  stitches  need  not  be  as  small 
and  accurate  as  in  plain  sewing,  but  they  must  be  strong  and  firm.  Success 
depends  on  the  careful  handling  of  the  material  that  it  may  not  be  stretched, 
on  the  accurate  union  of  parts  and  on  the  all-important  pressing. 


Nos.  55  and  56.  SEWING  ON  BRAID 
AND  VELVETEEN. 

MATERIALS  FOR  PRACTICE. 

Cashmere  or  Cloth,  Cotton  No.  50,  Needle,  No.  8. 

4x4  Inches.  or 

Cotton  Skirt  Lining  When  Desired,  Silk  No.  A, 

4x4  Inches.  or 

Mohair  Skirt  Braid,  Buttonhole  Twist  D, 

4 y2  Inches.  or 

Bias  Velveteen,  Linen  Twist  A. 

4 y2  Inches.  ♦ 

(The  color  of  the  braid  and  velveteen 
should  either  match  or  be  in 
harmony  with  the  cloth.) 

Use. — To  protect  the  edge  of  the  skirt. 

The  bottom  of  a skirt  may  be  finished  in  various  ways.  Binding  with 
braid  or  velveteen  is  the  general  usage.  If  the  former  is  used  it  should  be  a 
strong  mohair  braid  and  not  the  ordinary  skirt  braids  which  soon  wear  out; 
if  the  latter,  care  again  is  needed  to  procure  a good  quality,  as  much  of  the 
velveteen  for  sale  is  worthless  for  this  purpose. 


118 


A SEWING  COURSE 


Braid  should  be  shrunk  before  using  it  on  a garment  or  dampness  may 
cause  it  to  do  so  later  and  thus  draw  the  skirt  out  of  shape.  There  are  vari- 
ous methods  of  shrinking  the  braid;  such  as  plunging  it  in  lukewarm  water 
for  a few  minutes  and  then  shaking  it  out,  putting  it  in  boiling  water  and 
then  drying  it,  or  sponging  it  with  water  and  afterward  ironing  it  dry. 

Skirt  braids  and  veleteens  are  better  sewed  on  by  hand  than  by  machine, 
as  the  dust  is  less  apt  to  catch  in  the  stitches  and  wear  them  out. 

Rule  for  Sewing  on  Braid. — (1)  When  there  is  a lining  in  the  skirt  the 
following  method  is  often  used.  Turn  up  the  bottom  of  the  skirt  the  re- 
quired length  and  hem  the  lining  down  over  it.  The  lining  when  hemmed 
should  be  % of  an  inch  above  the  bottom  of  the  skirt.  Lay  the  braid  flat  on 
the  wrong  side  of  the  skirt,  letting  it  drop  % of  an  inch  below  the  bottom. 
Run  it  on  with  an  occasional  backstitch  % of  an  inch  from  the  bottom  of 
the  braid,  being  careful  not  to  take  the  stitch  through  to  the  cloth  on  the 
right  side.  Hem  the  opposite  side  of  the  braid  to  the  lining  (some  workers 
prefer  to  use  the  running-stitch  here  also,  as  they  consider  it  wears  better, 
being  more  protected  than  the  slanting  stitch  over  the  edge  of  the  braid). 
To  join  the  ends  of  the  braid  lay  one  end  1%  inches  over  the  other  end.  Turn 
each  raw  edge  in  y2  inch  so  that  one  will  lap  in  the  other.  Overhand  the  folds 
at  the  bottom  and  hem  the  upper  braid  on  the  lower.  Or  sew  the  two  ends 
together  y2  inch  from  the  raw  edges.  Turn  back  each  end  and  hem  or  over- 
cast it  to  the  braid  beneath  that  no  raw  edges  will  be  exposed.  Press  care- 
fully. 

(2)  Where  there  is  no  lining  in  the  skirt  or  where  there  is  a drop  skirt, 
the  bottom  is  turned  up  the  required  length  and  finished  with  a hem  or  facing, 
varying  in  depth  from  1 y2  to  4 inches.  To  protect  the  edge  of  this  hem,  a 
mohair  braid  may  be  placed  at  the  bottom.  Allow  the  edge  of  the  braid 
to  extend  about  1-16  of  an  inch  below  the  hem.  The  upper  edge  of  the  braid 
may  be  fastened  to  the  hem  by  a running  or  hemming  stitch.  If  greater 
strength  is  needed  put  a second  row  of  stitches  at  the  lower  edge  also,  being 
careful  not  to  take  them  through  to  the  right  side.  Press  carefully. 

(3)  Braid  may  also  be  sewed  on  so  that  it  will  have  the  effect  of  a 
fold  at  the  bottom  of  the  skirt,  as  in  the  velveteen  binding.  The  skirt  and 
the  lining  must  be  cut  even  and  the  braid  laid  on  the  right  side  of  the  skirt 
with  its  edge  even  with  the  other  edges.  The  braid  is  sewed  on  by  machine 
% of  an  inch  from  the  bottom  through  the  lining  and  the  skirt.  It  is  then 
turned  back  with  all  the  raw  edges  underneath  and  hemmed  to  the  lining 
or  the  skirt  on  the  wrong  side.  The  fold  of  the  braid  should  extend  3/s  of  an 
inch  below  the  skirt  to  protect  it.  Press  carefully. 

Rule  for  Sewing  on  Velveteen. — Cut  the  skirt  and  lining,  if  there  is 
one,  even  all  the  way  around.  Turn  them  about  % an  inch  so  the  skirt  will 
be  the  desired  length,  and  hem  the  raw  edges  to  the  lining.  Press  carefully. 
Lay  the  velveteen  on  the  bottom  of  the  skirt  with  its  right  side  against  the 
wrong  side  of  the  skirt.  Let  *4  of  an  inch  of  the  velveteen  lie  on  the  skirt 
and  the  rest  extend  below.  Run  it  by  hand  to  the  skirt  % of  an  inch  from 
the  bottom.  Turn  the  velveteen  back  so  that  the  fold  will  drop  % °f  an  in(?h 
below  the  finished  edge  of  the  skirt  and  baste  it  in  place.  Turn  in  the  oppo- 
site edge  of  the  velveteen  % of  an  inch  and  hem  it  to  the  skirt  or  to  the  lin- 
ing (it  is  sometimes  herring-boned  without  turning  in  the  edge).  Join  the 
ends  of  the  velveteen  by  allowing  y2  inch  more  than  the  circumference  of  the 
skirt  and  sew  the  two  ends  in  a bias  seam. 


SEWING  ON  BRAID  AND  VELVETEEN 


119 


Practice. — Take  4x4  inches  of  some  wool  material,  use  it  single  or  line 
it  with  an  appropriate  cotton  lining.  The  piece  thus  made  is  to  be  bound  on 
each  end  of  the  length  of  the  material.  On  one  end  place  the  mohair  braid 
and  bind  according  to  one  of  the  ways  suggested  under  Rule  for  Sewing  on 
Braid.  The  opposite  end  is  to  be  bound  with  bias  velveteen  according  to  the 
Rule. 


Nos.  57  and  58.  PLACKET  AND  POCKET  FOR 
WOOL  DRESS  SKIRT. 

MATERIALS  FOR  PRACTICE. 

Heavy  Cloth,  Cotton.  Needle. 

4x2%  Inches  (2  pieces),  (See  directions  under  Sewing  on  Braid  and 

5x1%  Inches  (2  pieces,  selvage).  Velveteen). 

Lining  if  Desired, 

4x2%  Inches  (2  pieces). 

Binding,  6 Inches, 
or 

Cashmere, 

4x2%  Inches  (2  pieces), 

3x2  Inches  (2  pieces)  and 

Lining,  3x2  Inches 

(or  3x4  Inches  and  3x2  Inches). 

Lining  if  Desired,  4x2%  Inches. 

Binding,  6 Inches. 

Plackets  in  dress  skirts  are  made  in  various  ways  according  to  the  require- 
ments of  the  garment  and  the  materials  of  which  it  is  made.  They  are  similar 
to  the  ones  used  in  cotton  fabrics  (see  Plackets)  but  demand  a slightly  dif- 
ferent treatment. 

Rule  for  Plackets. — The  opening  in  a dress  skirt  should  be  only  long 
enough  to  allow  it  to  slip  on  easily.  It  is  usually  placed  down  a seam.  In 
heavy  cloth  two  selvage  strips  of  the  material  % an  inch  longer  than  the  open- 
ing and  1%  inches  wide  are  used  for  the  lining  and  the  underfacing  or  the 
fly  of  the  placket  as  the  material  is  heavy  enough  without  a lining.  Light 
weight  wool  materials  such  as  cashmere  and  challie  have  not  substance  enough 
to  be  used  without  lining.  These  plackets  may  be  treated  in  two  ways. 
(1)  Two  pieces  are  cut  % an  inch  longer  than  the  opening.  One  piece  is 
intended  for  the  fly  or  underfacing  of  the  placket;  it  is  cut  lengthwise  of 
the  material  and  may  be  lined  with  the  dress  lining  or  cut  double  and  folded 
back  lengthwise  on  itself;  the  second  piece  is  to  face  the  upper  side  of  the 
placket.  It  is  often  cut  crosswise  of  the  material.  (2)  One  long  piece,  twice 
the  length  of  the  opening,  may  be  cut  and  turned  back  on  itself  (see  Placket 
No.  3,  Finish  No.  2). 

The  method  of  proceeding  with  dress  plackets  cut  in  two  pieces  is  the 
following:  The  seam  of  the  dress  should  be  open,  having  previously  been 
pressed.  The  right  side  of  the  opening  is  to  lap  over  the  left  side.  (Opin- 
ions differ  as  to  the  side  which  should  lap  over  the  other.)  Take  the  strip 
which  is  to  line  the  upper  side  of  the  placket.  Lay  it  on  the  right  side  of  the 


120 


A SEWING  COURSE 


material  and  seam  it  to  the  opening  a little  way  within  the  former  seam, 
turn  it  back  to  form  a facing  on  the  wrong  side  and  hem  it  to  the  lining  or  to 
the  skirt.  This  side  will  lap  over  the  other.  As  the  seam  has  been  made  a little 
within  the  pressed  line  of  the  former  seam,  it  will  not  show.  Turn  to  the  left 
side,  take  the  piece  for  the  fly  (the  selvage  strip,  the  double  strip  or  the  lined 
strip)  and  lay  it  on  the  left  side  with  the  right  sides  of  the  cloth  together. 
Stitch  into  a seam  a little  within  the  pressed  line  of  the  seam,  turn  the  seam 
back  and  let  the  added  piece  of  cloth  lie  flat  under  the  right  side  of  the 
placket.  Bind  or  overcast  the  part  of  the  seam  below  the  opening  ( see  Bind- 
ing Seams).  At  the  bottom  of  the  opening  the  fly  must  be  fastened  to  the 
upper  facing  and  both  must  be  fastened  to  the  dress  lining  or  skirt  without 
going  through  to  the  right  side.  Lay  the  fly  flat  on  the  facing  and  stitch  them 
together  at  the  end  of  the  opening.  The  ends  below  the  stitching  may  be  fin- 
ished in  three  ways.  (1)  If  the  cloth  is  strongly  woven  some  of  the  material 
under  the  fly  may  be  cut  away  and  the  raw  edges  of  the  fly  herring-boned  or 
hemmed  to  the  lining  of  of  the  dress.  (2)  If  the  cloth  is  light  in  weight,  turn 
the  fly  back  in  a fold  and  fasten  it  to  the  seam  of  the  skirt,  or  (3)  cut  the 
raw  edges  of  the  fly  and  the  upper  facing  even  and  bind  them  across  with 
silk  binding.  The  seam  containing  the  fly  can  be  bound  its  entire  length  with 
silk  binding  or  it  can  be  overcast. 

Practice. — Take  two  pieces  of  cloth  or  cashmere,  4x2%  inches,  leave 
them  unlined  or  line  them  with  cotton  skirt  lining  according  to  the  prevailing 
fashion.  Stitch  together  (either  by  hand  or  machine)  the  two  pieces  in  a good 
seam.  Press  the  seam  open.  The  opening  for  the  placket  can  now  be  made 
down  the  seam  2%  inches.  The  way  to  proceed  with  the  rest  of  the  placket 
depends  on  the  cloth  chosen.  If  it  is  a strong  suiting  use  selvage  strips  of 
cloth  and  follow  the  rule  in  completing  the  placket.  If  a soft  flimsy  wool 
has  been  chosen  the  underfacing  or  fly  can  be  lined  with  the  dress-lining. 
In  most  wrool  materials  a double  strip  of  the  material  may  be  used  for  the 
underfacing.  Follow  the  rule  in  completing  the  placket.  Bind  the  seams 
with  silk  binding  or  overcast  them. 

Rule  for  Pockets. — Ways  of  cutting  and  inserting  pockets  should  also 
be  discussed  by  the  classes.  They  may  be  cut  in  two  pieces  in  a bag  shape 
with  one  side  straight  and  the  other  curved,  with  the  opening  on  the  straight 
side ; or  they  may  be  cut  in  two  pear-shaped  pieces  and  one  piece  laid  on  top 
of  the  other  with  an  opening  cut  in  the  center  of  one  of  the  pieces.  The 
length  is  about  13  or  14  inches.  They  are  set  into  a seam  of  the  skirt  or  in 
a slit  in  the  material.  A bag  pocket  would  have  its  opening  two  or  more 
inches  below  its  top.  Pockets  are  faced  inside  with  the  material  of  the  dress. 
This  facing  should  extend  back,  above  and  below  the  opening  at  least  two 
inches,  so  that  the  inside  of  the  pocket  will  not  show  if  open  a little.  When 
the  pocket  is  made  it  is  turned  wrong  side  out,  put  through  the  opening  of 
the  seam  prepared  for  it,  and  seamed  on  the  wrong  side  to  the  skirt  in  the  fold 
of  the  seam.  As  small  a seam  should  be  taken  from  the  pocket  as  the  need 
of  strength  will  allow,  so  that  it  will  close  better.  This  is  especially  the  case 
at  the  top  and  the  bottom  of  the  pocket  seam.  The  seams  should  be  pressed 
open  and  bound  or  overcast.  A ribbon  or  tape  should  be  sewed  to  the  top 
of  the  pocket  and  fastened  to  the  belt  to  sustain  the  weight  and  keep  the 
pocket  in  shape.  When  the  pocket  and  the  placket  are  on  the  same  seam  the  for- 
mer usually  extends  to  the  belt  and  does  not  need  the  tape  or  ribbon.  The  upper 
part  of  the  seam  of  the  pocket  should  be  carefully  sewed  by  hand  to  the 
skirt,  as  the  tapering  off  of  the  seams  makes  it  rather  weak  at  this  point.  The 


PLACKET  AND  POCKET  FOR  WOOL  DRESS  SKIRT 


121 


lower  part  of  the  seam  may  also  be  sewed  by  hand,  as  too  deep  a seam  causes 
the  pocket  to  flare  open.  The  material  of  the  pocket  should  match  the  skirt, 
but  it  must  be  a fast  color  or  the  contents  of  the  pocket  will  be  injured. 
Percaline  is  good  for  this  purpose  as  the  light  side  can  be  the  inside  of  the 
pocket. 

Practice. — A class  should  cut  full  sized  pockets  in  paper,  or,  if  they  need 
practice,  they  can  be  made  in  any  available  material.  If  the  teacher  wishes 
an  example  of  a pocket  for  her  interleaved  copy  of  the  Sewing  Course  she 
can  make  a small  one  and  insert  it  in  the  placket  (see  No.  55),  or  she  can 
make  a separate  pocket.  It  is  better  for  the  classes  to  make  full  sized  pockets. 


No.  59.  FRONT  OF  WAIST.  HOOKS  AND  EYES. 

MATERIALS  FOR  PRACTICE. 

Dress  Material,  Cotton.  Needle. 

4x3  Inches  (2  pieces).  (See  directions  under  Sewing  on  Braid,  etc.) 

Waist  Lining  (Percaline  or  French  Cambric). 

4x2%  Inches  (2  pieces). 

Bone,  4 Inches  (2  pieces). 

Hooks  and  Eyes  (small  size),  4. 

Rule. — The  front  of  a waist  is  frequently  held  together  with  hooks  and 
eyes.  These  may  be  placed  (1)  on  the  lining  alone,  if  the  waist  material  is  to 
be  entirely  separate  and  fastened  on  one  shoulder  covering  the  opening  com- 
pletely, or  (2),  if  the  waist  material  is  to  be  opened  down  the  front,  a facing 
of  the  cloth  should  be  placed  on  the  lining  and  extend  a couple  of  inches 
back  from  the  hooks  and  the  eyes  on  each  side  to  make  a neat  appearance, 
if  the  waist  material  should  open,  or  (3),  in  case  of  a waist  plainly  fastened 
in  the  front,  the  hooks  and  the  eyes  would  be  fastened  on  the  lining,  the 
cloth  of  the  waist  would  be  folded  back  on  itself  and  slip-stitched  or  hemmed 
to  the  lining  in  such  a way  that  when  the  waist  was  hooked  the  folds  of 
the  waist  material  would  meet  and  cover  the  hooks  and  eyes. 

In  each  case  the  lining  would  be  treated  in  the  same  way.  It  should  be 
an  inch  wider  on  each  side  than  the  meeting  of  the  parts  would  require.  Turn 
the  lining  back  on  itself  one  inch  on  the  wrong  side  and  stitch  a casing  from 
one  end  to  the  other,  wide  enough  to  hold  the  bone  (the  bone  will  be  the 
height  of  the  dart).  In  order  to  make  the  bone-casing  firm  it  is  well  to  put 
another  line  of  stitching  along  the  edge  of  the  waist  that  the  bone  may  be 
snugly  enclosed  between  two  stitched  lines.  Spring  in  the  bone  and  fasten  it 
securely  at  either  end  (through  the  bone  or  above  and  below  it  in  the  ma- 
terial.) When  hooks  and  eyes  are  to  be  sewed  on  it  is  well  to  put  a piece  of 
clinoline  under  the  lining  turning  it  back  with  it.  The  bone  can  be  slipped 
in  the  crinoline  and  the  hooks  and  eyes  can  be  sewed  through  it  and  have  a 
strong  foundation.  Sew  the  hooks  and  eyes  on  the  wrong  side  alternately 
unless  hump  hooks  are  used,  at  equal  distances  on  the  lining,  or  through  the 
dress  material  and  the  lining  if  the  sewing  will  be  covered  by  the  trimming 
on  the  outside  of  the  waist.  The  hooks  should  be  % of  an  inch  back  from 
the  edge  and  the  eyes  % of  an  inch  over  the  edge,  so  the  dress  will  exactly 
meet.  Turn  the  remainder  of  the  lining  back  over  the  hooks  and  eyes  to  make 
a neat  finish  and  hem  it  down ; or  cut  away  all  superfluous  material  and  cover 


122 


A SEWING  COURSE 


the  raw  edges,  the  hooks  and  the  eyes  with  galoon  or  silk  bone-casing, 
hemming  it  down  on  both  sides.  If  the  waist  front  is  to  be  untrimmed  the 
dress  material  must  be  folded  back  to  entirely  cover  the  hooks  and  eyes.  The 
material  should  be  cut  to  extend  well  beyond  the  casing.  Turn  under  the  raw 
edge  on  each  side  back  on  itself  allowing  the  fold  to  extend  far  enough  beyond 
the  edge  of  the  bone-casing  so  that  it  will  completely  cover  the  hooks  and  eyes 
when  they  are  fastened  and  under  strain.  Slip-stitch  in  place. 

Sewing  on  the  Hooks  and  Eyes. — An  over  and  over  stitch  is  usually 
better  to  hold  the  hooks  and  eyes  than  the  buttonhole-stitch,  as  it  is  firmer 
The  metal  loops  are  made  for  the  stitches.  It  is  sometimes  well  to  spread  the 
lower  part  of  the  hooks  a little,  that  the  stitches  may  not  be  quite  so  close 
together.  In  beginning  to  sew  on  either  a hook  or  an  eye  it  is  well  to  take  two 
stitches  in  one  loop  and  then  two  in  the  other  to  hold  it  in  place  and  then  return 
to  sew  around  each  loop  and  across  between  the  loops,  drawing  the  thread  very 
tight.  In  addition  to  this  the  eyes  should  also  be  held  down  on  each  side,  just 
above  the  loops  and  again  near  the  edge  of  the  material,  and  the  hooks  should 
be  sewed  across  the  shank  near  the  turning  back  of  the  hook. 

Practice. — Take  two  pieces  of  waist  lining  4x2%  inches,  finish  them  ac- 
cording to  any  of  the  three  suggested  ways.  Take  small  black  hooks,  instead 
of  a larger  size  generally  used  in  waists,  so  they  will  be  less  apt  to  injure 
the  bristol-board  in  the  interleaved  edition  of  the  Sewing  Course.  Put  on 
four  hooks  and  eyes,  alternating  them  at  equal  distances  on  the  practice  pieces. 


Nos.  60  and  61.  BONE  CASING.  SEAM  BINDING. 

MATERIALS  FOR  PRACTICE. 

Dress  Material,  4x2 y2  Inches  (2  pieces).  Silk  No.  A. 

Waist  Lining  (Percaline  or  French  Cambric)  Cotton  No.  50 

4x2y2  Inches  (2  pieces).  (To  match  Dress  material.) 

Whalebone,  3%  Inches.  Silk  Binding,  10  Inches. 

Galoon  or  Bone  Casing,  6y2  Inches.  Needle,  No.  8 or  9. 

In  the  finishing  of  a waist  the  putting  in  of  the  bones  and  the  binding 
of  the  seams  are  very  important.  After  the  waist  is  put  together  the  seams 
must  be  cut  even  and  notched  in  certain  places,  especially  in  curved  seams  in 
order  to  fit  into  the  figure.  One  notch  is  always  made  at  the  waist  line 
almost  up  to  the  sewing.  A couple  of  notches  should  be  made  above  the 
waist  line  in  seams  which  are  considerably  curved.  The  edges  of  the  notch 
may  be  curved  to  aid  in  the  binding.  The  seams  must  be  dampened  (dipping 
the  fingers  in  water  and  passing  them  over  the  seam  is  often  better  than 
to  use  a wet  cloth),  and  pressed  open  to  see  if  they  lie  flat  before  binding 
them.  A narrow  pressing  board  and  an  iron  for  seams  aids  in  the  work. 

Binding  Seams. — The  raw  edges  of  the  seam  may  be  finished  in  several 
ways.  (1)  The  dress  material  and  the  lining  may  be  overcast  together.  (2) 
The  dress  material  and  the  lining  may  be  turned  in  on  each  other  and  either 
overcast  or  run  together.  The  seams  must  be  made  wider  if  this  means  is  to 
be  used  than  for  Nos.  1 and  3.  (3)  The  seams  may  be  bound  with  a soft 

binding  ribbon.  The  ribbon  is  folded  on  either  side  of  the  raw  edges  of  the 


BONE  CASING.  SEAM  BINDING 


123 


seam.  In  order  to  accomplish  this  most  easily  the  ribbon  may  be  creased  along 
its  length  so  that  one  side  is  slightly  deeper  than  the  other.  It  may  then  be 
laid  over  the  raw  edges  of  the  seam  with  the  shorter  side  toward  the  worker 
and  both  sides  may  be  held  by  one  line  of  rnnning-stitches.  The  ribbon  should 
be  held  easily  around  the  curves  so  they  will  open  well. 

Bone  Casings. — Many  kinds  of  bones  are  used  for  waists.  It  is  generally 
conceded,  however,  that  whalebone  is  the  best,  as  it  is  thinner  and  more  flex- 
ible than  the  others.  Cased  bones  can  be  purchased,  but  they  are  not  con- 
sidered as  satisfactory  as  making  the  casings  and  inserting  the  bones.  Bias 
binding  or  strong  narrow  ribbon  bindings  are  the  most  desirable.  The  rib- 
bon casing  should  be  eased  on  all  the  way  and  slightly  fulled  directly  above 
and  below  the  waist  line.  The  bones  are  put  in  usually  to  about  an  inch  below 
the  height  of  the  dart.  If  they  are  placed  too  high  they  will  push  through. 
In  order  to  keep  the  bone  from  rubbing  through  the  waist  lining  a pocket 
is  made  at  the  top  of  the  casing  by  turning  the  ribbon  back  from  % to  1 inch 
and  overhanding  the  sides  of  it.  The  casing  is  sewed  to  the  turnings  on 
either  side  of  the  seam  below  this  pocket.  The  middle  of  the  casing  should 
come  directly  over  the  seam.  The  ribbon  casing  is  usually  hemmed  or  run 
on  both  sides,  the  bias  casing  may  be  sewed  the  same  way  or  the  herring-bone 
stitch  may  be  used  across  the  casing  from  side  to  side.  This  makes  an  at- 
tractive finish.  A bias  casing  does  not  need  to  be  fulled  on.  The  casing  should 
be  cut  long  enough  to  allow  for  the  pocket  at  the  top  and  for  y2  inch  extra 
at  the  other  end.  The  bone  is  cut  a little  longer  than  the  place  it  is  to  occupy. 
The  ends  should  be  rounded.  After  the  casing  is  sewed  on,  the  bone  is  put 
in  from  the  bottom  and  pushed  or  sprung  in  tight  into  the  pocket,  the  extra  y2 
bones  may  be  soaked  in  water  and  a needle  can  then  easily  pierce  them,  or 
holes  may  be  pierced  in  them  with  a hot  needle  before  inserting  them  in  the 
inch  of  casing  is  turned  in  over  the  bone  and  the  casing  sewed  closely  to  the 
seam.  The  bones  also  must  be  fastened  to  the  seam  at  the  end  of  the  pocket 
and  y2  inch  from  the  bottom  of  the  bone.  To  provide  for  this  the  whale- 
bones may  be  soaked  in  water  and  a needle  can  then  easily  pierce  them,  or 
holes  may  be  pierced  in  them  with  a hot  needle  before  inserting  them  in  the 
casing.  The  bone  may  be  sewed  down  with  fan-shaped  stitches  at  the  top  of 
the  casing  or  a couple  of  strong  stitches  to  the  right  and  to  the  left  over  the 
casing  and  into  the  turned  back  material  of  the  seam  may  be  taken  just  below 
the  pocket.  It  must  also  be  sewed  down  y2  inch  from  the  end  of  the  bone. 
In  short  bodices  the  end  of  the  bone  should  come  about  % of  an  inch  from 
ing  will  then  be  hemmed  into  place.  In  a long  bodice  the  bones  need  not  be 
carried  far  below  the  waist  line. 

Practice. — Take  two  pieces  of  dress  material  4x21/2  inches  and  line  them 
with  waist  lining.  Lay  the  cloth  sides  exactly  together.  Crease  a vertical 
line  through  the  four  thicknesses  % an  inch  in  from  the  right  hand  side. 
Crease  another  line,  at  right  angles  to  the  first,  1 inch  from  the  bottom  to 
indicate  the  waist  line.  Measure  % of  an  inch  in  from  the  intersection  of 
these  lines  and  make  a curved  line  from  the  bottom  to  the  top  of  the  vertical 
crease  passing  through  the  y8  of  an  inch  point  on  the  waist  line.  This  line 
represents  the  curved  seam  in  a waist.  Stitch  the  pieces  together  in  a seam 
along  the  curved  line.  Either  the  hand  or  the  machine  may  be  used.  Trim 
the  edges  to  y2  an  inch  from  the  seam.  Make  a notch  at  the  waist-line  to 
within  y2  of  an  inch  of  the  seam  and  two  other  notches  about  1 inch  apart, 
above  the  first.  Round  off  the  edges.  Press  open  the  seams  and  bind  the  raw 


124 


A SEWING  COURSE 


edges  according  to  the  rule.  In  putting  the  bone  casing  down  the  seam  allow 
for  a pocket  of  % of  an  inch  at  the  top  and  % an  inch  at  the  bottom.  Let 
the  bone  end  % of  an  inch  from  the  end  of  the  seam.  Cut  the  bone  3% 
inches  in  length.  Finish  all  according  to  the  rule. 


No.  62.  SLIP  STITCHING. 

MATERIALS  FOR  PRACTICE. 

Cashmere,  Silk  A.  Needle,  No.  10 

5x3  Inches.  (To  match  cashmere.) 

Application. — In  neckwear,  trimming  for  hats,  or  folds  on  dresses. 

Use. — In  dressmaking  and  millinery  to  hold  two  edges  of  cloth  together ; 
to  hold  down  a hem  where  the  hemming-stitch  would  show  too  much,  or  to 
fasten  on  trimming  such  as  bias  bands,  cording  and  folds. 

Fitness. — The  stitch  is  almost  invisible  and  is  well  adapted  to  dressmak- 
ing and  to  millinery. 

There  are  many  forms  of  the  stitch  adapted  to  various  requirements. 

Rule. — The  form  of  the  stitch  is  like  the  running-stitch  (Fig.  50).  It 
will  hold  material  securely  and  yet  be  almost  invisible  on  the  right  side.  The 
material  or  the  hems  to  be  slip-stitched  down  must  be  carefully  prepared  and 
basted  in  place.  The  thread  must  be  securely  fastened.  The  stitch  is  made 
on  the  wrong  side  of  the  material  well  under  the  edge  of  the  fold.  The  fold 
is  turned  back  a little  with  the  finger  and  a long  running  stitch  is  taken 
through  the  fold  and  then  into  the  material  catching  but  a couple  of  threads 
and  not  going  through  to  the  right  side  of  the  cloth.  It  continues  with  a long 

stitch  in  the  fold  and  an  almost  in- 
visible one  in  the  material.  To  fold 
and  slip-stitch  both  sides  of  a long 
bias  or  straight  piece  in  order  to 
make  trimming,  first  turn  the  raw 
edge  of  the  upper  side  toward  you, 
and  second,  turn  the  edge  of  the 
Fig.  50.— Slip-Stitching.  lower  side  away  from  you  in  a 

small  fold  and  again  in  a deeper 
fold,  which  will  almost  cover  the  one  on  the  upper  side  of  the  strip.  All  raw 
edges  will  thus  be  concealed  and  the  lower  fold  will  overlap  the  upper.  Slip- 
stitch  one  fold  down  on  the  other  and  use  the  same  stitch  to  sew  the  folds  to 
the  garment.  In  millinery  the  stitch  may  be  drawn  in  such  a way  that  the 
fold  may  be  fitted  into  a place,  yet  the  material  will  not  look  wrinkled.  Fine 
needles  are  used  in  slip-stitching.  The  work  requires  practice  and  neatness  of 
touch. 

The  same  form  of  slip-stitch  is  sometimes  used  combined  with  a backstitch, 
where  a fold  is  to  be  held  on  the  outside  of  a gown.  The  stitch  is  taken  on  the 
right  side  of  the  material  well  in  as  well  as  under  the  fold  so  it  will  not  show, 
but  a good  hold  is  taken  in  the  material  under  the  fold.  This  form  is  apt  to 
draw  the  material. 

Another  form  of  the  stitch  is  called  slip-hemming.  It  is  used  to  hold  the 
raw  edge  of  a fold  to  the  material  when  the  double  fold  used  in  hemming 
would  show  through.  It  is  more  used  in  millinery  than  in  dressmaking.  The 
edge  of  the  material  is  folded  over  once.  A stitch  is  taken,  resembling  the 


SLIP  STITCHING 


125 


herring-bone,  but  is  made  from  right  to  left  and  does  not  have  the  crosses.  The 
stitch  is  like  a running  stitch.  It  is  first  taken  in  the  fold  above  the  raw  edge 
and  then  below  in  the  material,  but  in  the  latter  a very  small  hold  is  taken,  so 
it  will  not  show  on  the  right  side  of  the  cloth. 

Practice. — Take  a piece  of  cashmere  5x3  inches.  Turn  a hem  of  % an 
inch  along  one  long  edge.  The  first  turn  of  the  hem  must  be  about  % of  an 
inch,  baste  this  down  % of  an  inch  from  the  edge  of  the  fold  when  turning 
the  y2  inch  hem.  Slip-stitch  the  hem  to  the  cashmere  under  the  edge  of  the 
fold  according  to  the  rule. 


126 


A SEWING  COURSE 


PRICES  OF  MATERIALS. 

Width  or  Size. 


Beeswax  . . . 
Binding — 

Seam  

Velveteen  . 
Bone  Casing  . 
Braid — 


Price. 
$0.50  lb. 

.10  piece 
.25  “ 
.15  “ 


Skirt  

V2  in. 

.05 

tt 

Narrow  

% “ 

.17 

for  24 

Mohair  

% “ 

.15 

piece 

Burlap — 

Cotton  

48  “ 

.90-1.25  yd. 

Jute  

26  “ 

.35 

1 1 

Buttons — 

Pearl  

.10-  .20 

doz. 

Bone  

.20 

gross 

Shoe  

.07 

a 

Canvas — 

j ay  a,  

70  vnrri 

Penelope  

24  “ 

.17-  .25 

( c 

Aida  

\8-36  “ 

0 

co 

0 

CQ 

a 

Scrim,  heavy  

40  11 

.35 

t i 

Cotton  Cloth — 

Batiste  

40  “ 

1.00 

< t 

up 

Cambric  

36  “ 

.15-  .25 

a 

Canton  flannel  

27  11 

.15 

a 

Chambray  

27  “ 

.25 

i 1 

up 

Cheese  cloth  

36  “ 

.07-  .10 

i t 

Damask  (Mercerized)  

48-16  “ 

0 

<0 

0 

i 1 

Denim  

32  G 

.22 

i t 

Dimity  

27  (i 

.12%-  .25 

a 

Drilling  

30  tf 

.12-  .18 

a 

Gingham  (apron)  

24  11 

.08-.12y2 

i i 

Gingham  (dress)  

27  li 

.12y2-  .50 

i i 

Lawn  

24-36  “ 

.10-  .75 

t i 

Muslin,  unbleached  

36  lt 

.07-  .15 

i t 

Muslin,  white  

36  “ 

.10-  .20 

1 i 

Nainsook  

36  “ 

.15 

1 1 

up 

Nearsilk  

36  “ 

.25 

1 1 

t ( 

Organdie  

27  “ 

.25 

1 1 

i t 

Percale  

36  “ 

.12% 

1 1 

it 

Percaline  

27  “ 

.22 

1 1 

tt 

Sateen  

27  ft 

.20 

i e 

1 1 

Ticking  

32  “ 

.18 

tt 

tt 

PRICES  OF  MATERIALS 


127 


Cotton  Thread — 

Basting  

Clarks,  O.  N.  T 

Darning  

Embroidery,  D.  M.  C 

!E  MERIES  

Kindergarten  Cards  

Lace — 

Torchon  

Valenciennes  

Insertion  

Beading  

Linen  Cloth — 

Batiste  

Butchers  

Canvas  

Crash  

Damask  

Diaper  

Laces  

Lawn  

Toweling  

Linen  Thread — 

Barbours  

Scotch  Floss  

Needles — 

Bodkins  

Fine  darning  (crewel)  . . . 

Hammock  

Large  darning  double  long 

Milward  sharp  

Tapestry 

Paper — 

Colored  

Drafting  

Engine  

Sheets  

Striped  tissue 

Pincushions  

Rulers  

Scissors — 

Blunt  

Button-hole  

Sharp  points  

Shears  

Paper  shears  

Silk — 

China  

Crepe  de  Chine  

Foulard  

Gros  grain  


Width  or  Size. 

.No.  16-50 
No.  24-150 


No.  16-60 


No.  183 
% in. 

. y2  “ 

. y2  “ 

. y2  “ 

25-37  “ 
.24-44  “ 

. 45  “ 

.18-36  “ 
54-72  “ 
24  “ 
■%-2  “ 
.18-36  “ 
.18-36  “ 


No.  8 


No.  6a 
No.  5-12 
.No.  17-21 

. 6x6  in. 


.6x6  “ 

20x24  “ 
.30x20  “ 


.4-inch 


5-inch 


..24-27  in. 
.24-36  “ 
..27-36  “ 
.24-36  “ 


Price. 

.24  doz. 

.62  “ 

.24  “ 

.15  “ 

.50  “ 

.25  pkg.  100 

.12  yard 
.25  piece 
.25  “ 

.25  “ 

.25-  1.00  yard 
.40-  1.50  “ 

.50  " 

.10-  .36  “ 

.75-  3.00  “ 

.50-  .75  “ 

.10-  .75  “ 

.25-  2.00  “ 

.25-  1.00  “ 

.10  spool 
.25  hank 

.10  per  paper 
.45  doz.  1 ‘ 

1.00  “ 

.10  per  paper 
.45  doz.  papers 
.45  ‘ 1 “ 

.25  100  sheets 
10.00  large  roll 
.25  100  sheets 
.04  sheet 
1.75  ream 
.50  dozen 
.50  “ 

1.60  “ 

2.00-4.50  “ 

3.20 

5.60-9.00  “ 

1.25  pair 

.50-  1.00  yard 
1.00  yard  up 
.50  “ “ 

1.00  ^ 


128  A SEWING  COURSE 

Width  oe  Size.  Price. 

Silk — 

Louisine  24-27  “ 1.00“  “ 

Pongee  24-36  “ .55  “ “ 

Satin,  cotton  back  24-27  “ .50  “ “ 

Satin,  silk  back 24-27  “ 1.50  “ “ 

Surah  24-36  “ .75  “ “ 

Taffeta  18-27“  .75“  “ 

Silk  Thread — 

Sewing  A-B  .80  dozen 

Twist  (Buttonhole)  D-E  .45  “ 

Embroidery  E-EE  .85  “ 

Tape — 

Cotton  1*4  in.  .10  piece 

Cotton  y2  “ .10  “ 

Cotton,  bobbin  % “ *10  dozen 

Tape  Measures  .40-  .60  “ 

Thimbles — 

German  Silver  No.  5-9  .45  “ 

Aluminum  “ .30  “ 

Brass  “ .12  “ 

Celluloid  “ .36  “ 

Whalebone  .25  piece 

Wool  Cloth — 

Albatross  45  in.  1.00  yard  up 

Alpaca  42  “ .75  “ “ 

Broadcloth  52  “ 2.00  “ “ 

Cashmere  42  “ .75  “ “ 

Camel’s  Hair 45“  1.00“  “ 

Challie  . . 27“  .35“  “ 

Checks  54“  .75-1.50  “ “ 

Cheviot  52“  1.00“  “ 

Bunting  18  “ .50  “ “ 

Doeskin  72  “ 4.00  “ “ 

Felt  45  “ .65  “ “ 

Flannel  24-36  “ .25  “ “ 

Granite  cloth  40  “ .75  “ “ 

Henrietta  36  “ .75  “ “ 

Homespun  42  “ 1.00  “ “ 

Ladies’  cloth  54  “ 1.25  “ “ 

Melton  54  “ 2.00-6.00  “ “ 

Merino  42  “ .75  “ “ 

Mohair  40  “ .75-3.00  “ “ 

Voile  40  “ 1.00  “ “ 

Serge  40-44  “ 1.00  “ ^ 

Poplin  40  “ .65  “ “ 

Rep  36-45  “ .65  “ “ 

Wool  Yarn — 

Columbia  1.45  lb. 

Saxony  1.50  “ 

Zephyr  2.20  “ 


SUGGESTIVE  LIST  OF  DOMESTIC  ART  BOOKS 


129 


SUGGESTIVE  LIST  OF  DOMESTIC  ART  BOOKS. 


I.  EDUCATIONAL. 

SCHOOL  AND  SOCIETY.  Dewey,  Chi- 
cago Univeristy  Press,  1899. 

PLACE  OF  INDUSTRIES  IN  ELE- 
MENTARY EDUCATION.  K.  E. 
Dopp.  Chicago  University  Press. 
THE  AIM  OF  EDUCATION.  C.  H.  Hen- 
derson. Popular  Science  Monthly,  49: 
485,  35:433,  46:799. 

METHOD  OF  THE  RECITATION.  Mc- 
Murry.  Macmillan,  1904. 

TALKS  TO  TEACHERS.  Wm.  James. 
Holt,  1899. 

TEACHERS  COLLEGE  RECORDS. 

Teachers  College,  New  York.  , 
PSYCHOLOGY,  Briefer  Course.  Wm. 
James.  Holt,  1893. 

YOUTH,  Its  Education,  Regimen  and  Hy- 
giene. G.  S.  Hall.  Appleton,  1907. 
PRINCIPLES  OF  TEACHING,  ELE- 
MENTS OF  PSYCHOLOGY.  Thorn- 
dyke.  A.  G.  Seiler,  New  York,  1905. 
EDUCATION  AND  THE  LARGER  LIFE. 

Henderson.  Houghton,  Mifflin. 

DR.  SADLER’S  REPORTS.  Eyre  & Spot- 
tiswoode,  London,  1902. 

Yol.  10.  Moral  Education  in  Second- 
ary Schools.  Mark. 

Knowledge  Teacher  Should  Possess.  J. 
E.  Russell. 

Vol.  11.  Curriculum  of  Secondary 
Schools.  Sandford. 

Secondary  Education  in  Democratic 
Communities.  Paul  Hanus. 
Education  and  Industry  in  United 

Q rlr 

GROWTH  AND  EDUCATION.  Tyler. 

Houghton,  Mifflin,  1907. 

MAKING  OF  OUR  MIDDLE  SCHOOLS. 

Brown.  Longmans,  1903. 
PRINCIPLES  OF  CLASS  TEACHING. 

Findlay.  Macmillan,  1902. 
EDUCATION  AS  ADJUSTMENT.  O’Shea. 
Longmans,  1903. 

EDUCATIONAL  REFORM.  C.  W.  Eliot. 

Century  Company,  1898. 

ETHICAL  PRINCIPLES  UNDERLYING 
EDUCATION.  Dewey.  Yearbook  of 
Herbart  Society,  Vol.  3,  1899.  Univer- 
sity of  Chicago  Press. 

EDUCATIVE  PROCESS.  Bagley.  Mac- 
millan, 1905. 

FROEBEL,  Chaps.  II,  V,  IX.  Bowen. 
Scribner,  1893. 

EDUCATION  BY  DEVELOPMENT,  Chap. 
V.  Froebel.  Appleton,  1899. 


THE  COMMUNITY  AND  THE  CITIZEN. 

Arthur  W.  Dunn.  Heath. 

THE  EARLY  CAVE  MEN:  THE  TENT 
DWELLERS.  Dopp.  Rand,  McNally, 
1904. 

THE  LATER  CAVE  MEN.  Dopp.  Rand, 
McNally,  1906. 

THE  STORY  OF  AB.  Stanley  Waterloo. 
Way,  1897. 

L ’EDUCATION  DOMESTIQUE  DES 
JEUNES  FILLES.  Frank.  Librairie 
Larousse,  1904. 

INDUSTRIAL  AND  SOCIAL  EDUCA- 
TION. Baldwin.  M.  Bradley,  1903. 
MONOGRAPHS  ON  EDUCATION.  Butler. 

J.  B.  Lyon  & Co.,  1900. 

A MODERN  SCHOOL.  Hanus.  Macmil- 
lan, 1904. 

CLASSROOM  MANAGEMENT.  Bagley. 
Macmillan,  1907. 

MIND  IN  THE  MAKING.  E.  J.  Swift. 
Scribners,  1908. 

INTEREST  AND  EDUCATION.  DeGarmo. 
Macmillan,  1906. 

THE  MAKING  OF  CHARACTER.  J. 

Maccunn.  Macmillan,  1906. 

THE  AMERICAN  HIGH  SCHOOL. 

Brown.  Macmillan,  1909. 
TREE-DWELLERS.  Dopp.  Rand,  Mc- 
Nally, 1903. 

THE  TEACHER.  Palmer.  Houghton, 
Mifflin,  1908. 

YOUTH:  ITS  EDUCATION,  REGIMEN 
AND  HYGIENE.  Stanley  Hall,  1906. 
HOW  TO  STUDY.  McMurry,  1909. 

TENT  DWELLERS.  Dopp.  (In  prepara- 
tion.) Rand,  McNally. 

THE  OUTLOOK  TO  NATURE.  Bailey. 
Macmillan,  1905. 

II.  CHILD  STUDY. 

A STUDY  OF  CHILD  NATURE.  Eliza- 
beth Harrison.  Chicago  Kindergarten 
College,  1891. 

CHILDREN’S  RIGHTS.  K.  D.  Wiggin. 
Houghton,  1892. 

THE  DEVELOPMENT  OF  THE  CHILD. 

Oppenheim.  Macmillan. 

NOTES  OF  CHILD  STUDY.  Thorndyke. 
Macmillan,  1903. 

FUNDAMENTALS  OF  CHILD  STUDY.  E. 

A.  Kirkpatrick.  Macmillan,  1903. 
THE  CHILD  AND  THE  CURRICULUM. 
Dewey.  University  of  Chicago  Press, 
1906. 


130 


A SEWING  COURSE 


III.  STUDY  OF  TEXTILES 

HOME  LIFE  IN  COLONIAL  DAYS.  A. 

M.  Earle.  Macmillan,  1899. 

COTTON  SPINNING.  R.  Marsden.  Mac- 
millan, 1895. 

WOOLEN  SPINNING.  Chas.  Yickerman. 
Macmillan,  1894. 

HOW  WE  ARE  CLOTHED.  Chamberlain. 
Macmillan,  1904. 

TEXTILE  FIBRES.  Matthews.  Wiley, 
• 1904. 

THE  DOMESTIC  SHEEP.  Stewart.  Am- 
erican Sheep  Breeder  Press,  Chicago, 
1900. 

THE  DYEING  OF  TEXTILE  FABRICS. 

Hummel.  Cassell,  1893. 

THE  STORY  OF  THE  COTTON  PLANT. 

F.  Wilkinson.  Appleton,  1899. 

FIRST  STEPS  IN  HUMAN  PROGRESS. 
F.  Starr.  Chautauquan  Association, 
New  York,  1901. 

WOMAN’S  SHARE  IN  PRIMITIVE  CUL- 
TURE. O.  T.  Mason.  Appleton,  1899. 
THE  ORIGINS  OF  INVENTION.  O.  T. 

Mason.  Scribner,  1899. 

SPINNING.  Annie  Garnett.  Bowness, 
Westmoreland,  England. 

WEAVING.  Katherine  F.  Steiger.  Hart 
Bros.,  Rochester,  N.  Y.,  1907. 
TEXTILES  AND  CLOTHING.  Kate  H. 
Watson.  American  School  of  Home 
Economics,  Chicago. 

UNITED  STATES  GOVERNMENT  PUB- 
LICATIONS: Department  of  Agri- 

culture. Supt.  of  Documents,  Wash- 
ington. Office  of  Fibre  Investigation. 
TECHNICAL  BOOKS  OF  THE  AMERI- 
CAN SCHOOL  OF  HOME  ECONO- 
MICS, Chicago. 

TEXTILE  FIBRES  OF  COMMERCE. 

Hannan.  Griffis,  London,  1902. 
SILK  INDUSTRY  IN  AMERICA.  L.  P. 

Brockett.  Van  Nostrand,  1876. 

SILK  MANUFACTURE.  Gilroy.  Har- 
per, 1845. 

SILK  CULTURE  IN  CALIFORNIA. 

Carrie  Williams.  Whitaker,  1902. 

AN  INSTRUCTIVE  BOOK  IN  THE  ART 
OF  SILK  CULTURE,  compiled  by  the 
Women’s  Silk  Culture  Association  of 
the  United  States  at  Philadelphia, 
1882. 

SILK  IN  AMERICA.  W.  C.  Wyckoff.  Van 
Nostrand,  1879. 

LINEN— HOW  IT  GROWS.  National 
Flax  Fibre  Company,  1900. 

LINEN  TRADE,  ANCIENT  AND  MOD- 
ERN. Warden.  Longmans,  1864. 
WOOL  SPINNING.  W.  S.  McLaren.  Cas- 
sell, 1899. 

WOOL  MANUFACTURE.  Beaumont. 
George  Bell,  London,  1890. 


ANIMAL  PRODUCTS.  P.  L.  Simmonds. 

Chapman  & Hall,  London,  1877-. 

THE  STRUCTURE  OF  THE  WOOL 
FIBRE.  F.  H.  Bowman.  Palmer  & 
Howe,  Manchester  1885. 

COTTON  WEAVING.  F.  Marsden. 

George  Bell,  London,  1895. 

THE  MECHANISM  OF  WEAVING.  J. 

W.  Fox.  Macmillan,  1894. 

WEAVING  AND  DESIGNING.  Ashen- 
hurst.  Simpkin,  London,  1879. 
STUDENTS’  COTTON  SPINNING. 

Joseph  Nasmith.  Van  Nostrand,  1892. 
FLAX,  TOW  AND  JUTE  SPINNING. 

Peter  Sharp.  Simpkin,  London,  1882. 
LOOM  AND  SPINDLE— Life  among  the 
Early  Mill  Girls,  introduction  by  C. 
D.  Wright.  Robinson.  Crowell,  1898. 
PRACTICE  IN  FINISHING.  Greene. 

Textile  Record,  Philadelphia,  1886. 
PRIMITIVE  FRAME  FOR  WEAVING 
NARROW  FABRICS.  O.  T.  Mason. 
Government  Printing  Office,  Washing- 
ton, 1901. 

PRIMITIVE  TRAVEL  AND  TRANSPOR- 
TATION. O.  T.  Mason. 

MAN  BEFORE  METALS.  Joly.  Apple- 
ton,  1883. 

PRIMITIVE  CULTURE.  Tylor.  Holt, 
1888. 

ANTHROPOLOGY.  Tylor,  Appleton,  1881. 
MAN  AND  HIS  WORK.  Herbertson. 

Adam  Black,  London,  1899. 

HISTORY  OF  AMERICAN  MANUFAC- 
TURES. Bishop.  Edward  Young,  1868. 
THE  COTTON  INDUSTRY.  Hammond. 
Macmillan,  1898. 

COTTON  FIELD  TO  COTTON  MILL. 

Thompson.  Macmillan,  1906. 
PRINCIPLES  OF  DYEING.  Love.  Baird, 
London,  1896. 

WEAVING.  Todd.  Rand,  McNally,  1902. 
WOOL.  COTTON,  SILK.  E.  A.  Posselt. 
The  Author,  1901. 

WOOL  DYEING,  2 Vols.  E.  A.  Posselt. 
The  Author, 

ORNAMENT  IN  EUROPEAN  SILK.  Pole. 

Debenham,  London,  1899. 

AMERICAN  COTTON  INDUSTRY.  Young. 
Scribner,  1903. 

REPORTS  OF  ASSOCIATIONS  OF 
GROWERS  OR  MANUFACTURERS 
OF  TEXTILES. 

LEADING  TRADE  MAGAZINES. 
STORIES  OF  INDUSTRY.  Educational 
Publishing  Co.,  1907. 

COTTON,  FROM  SEED  TO  LOOM.  Dana. 
New  York,  1878. 

CHILD  LIFE  IN  COLONIAL  DAYS. 
Earle.  Macmillan,  1903. 


SUGGESTIVE  LIST  OF  DOMESTIC  ART  BOOKS 


131 


SILK  CULTURE.  Dep’t.  of  Agriculture, 
Washington.  Bulletin-Year  Book. 

A WOOL  AND  COTTON  FABRIC  GLOS- 
SARY. Published  by  Frank  P.  Ben- 
nett, New  York,  1907. 

HANDBOOK  ON  COTTON  MANUFAC- 
TURE. Gildard,  New  York,  1867. 
METHODS  OF  TEXTILE  CHEMISTRY. 

Fred  Dannerth.  Wiley,  1908. 
PRINTING  OF  COTTON  FABRICS,  pp. 

53-73.  Sansone,  London,  1901. 
DYEING  WOOL,  SILK,  COTTON,  ETC. 

Sansone,  London,  1888. 

ON  AN  APPARATUS  FOR  MEASURING 
TENSILE  STRENGTH  OF  FIBRES. 
O'Neill,  London,  1805. 

IV.  SEWING  AND  DRESSMAKING. 

SCHOOL  NEEDLEWORK.  O.  C.  Hap- 
good.  Ginn,  1893. 

ELEMENTARY  NEEDLEWORK.  K. 

McFoster.  Prang,  Boston. 
SCIENTIFIC  SEWING  AND  GARMENT 
CUTTING.  Wakeman.  Silver,  Bos- 
ton. 

SCHOOL  AND  HOME  SEWING.  Frances 
Patten.  Teachers’  Edition.  Newson, 
New  York,  1901. 

HOUSEHOLD  SEWING  WITH  HOME 
DRESSMAKING.  Bertha  Banner. 
Longmans. 

PRACTICAL  DRESSMAKING.  Mrs.  J. 

Boughton.  Macmillan,  London,  1897. 
DRESSMAKING  UP  TO  DATE.  Butter- 
ick  Publishing  Co. 

A SEWING  COURSE.  Mary  Schenck 
Woolman.  F.  A.  Fernald,  Buffalo,  1900. 
DRESS-CUTTING,  DRAFTING  AND 
FRENCH  PATTERN  MODELING.  M. 
Prince  Brown.  Archibald  Constable 
& Co.,  London. 

V.  MISCELLANEOUS  HANDWORK. 

CANE  BASKET  WORK.  Annie  Firth. 
Scribner,  1899. 

HOW  TO  MAKE  BASKETS.  Mary  White. 
Doubleday. 

VARIED  OCCUPATIONS  IN  WEAVING. 
VARIED  OCCUPATIONS  IN  STRING 
WORK.  Louise  Walker.  Macmillan, 
1895. 

ART  IN  NEEDLEWORK.  Day.  Bats- 
ford,  London,  1900. 

ILLUMINATED  BOOK  OF  NEEDLE- 
WORK. Owen  and  Witton.  Bohn, 
London,  1897. 

THE  ART  CRAFTS  FOR  BEGINNERS. 

Sandford.  Century  Co.,  1904. 

THE  RUG  PRIMER.  Clifford,  1904. 

THE  ABNAKEE  RUG.  Albee.  Allen. 


OCCUPATIONS  FOR  LITTLE  FINGERS. 

Sage  and  Cooley.  Scribner,  1905. 
INDUSTRIAL  AND  SEAT  WORK.  Gil- 
man and  Williams,  Macmillan,  1905. 
CHILD’S  RAINY  DAY  BOOK.  White. 
Doubleday,  1905. 

KNOTTING  AND  SPLICING.  Hasluck. 
McKay,  1905. 

STUDY  OF  TEXTILE  DESIGN.  Barker. 
Dutton,  1903. 

POINT  ^AND  PILLOW  LACE.  Sharp. 
Dutton,  1899. 

ORIENTAL  RUGS.  Langton.  Appleton, 
1904. 

EMBROIDERY.  W.  G.  Townsend.  Trus- 
love,  London,  1899. 

WOMAN’S  LIBRARY  OF  NEEDLE- 
WORK. Ethel  MsKenna.  The  Au- 
thor, 1903. 

EMBROIDERIES  AND  THEIR  STITCH- 
ES. Butterick  Publishing  Co. 
PRACTICAL  MILLINERY.  J.  Ortner. 

Whitaker,  London,  1897. 

COLUMBIA  BOOK  OF  THE  USE  OF 
YARNS. 

PRACTICAL  HOME  MILLINERY.  Amy 
J.  Reeve.  Longmans. 

HANDWORK  CONSTRUCTION.  Eppen- 
dorff.  Brooklyn,  N.  Y.,  1909. 
EMBROIDERY  UP  TO  DATE.  Butterick 
Publishing  Co. 

HOME  LACE-MAKING.  M.  E.  W.  Milroy. 
VanNostrand. 


VI.  HOUSEHOLD  ART. 

ART  IN  NEEDLEWORK.  L.  F.  Day. 
Scribner,  1900. 

HOUSEHOLD  ART.  Mrs.  Candace  Wheel- 
er. Harper,  1893. 

SOME  PRINCIPLES  OF  EVERY-DAY 
ART.  L.  F.  Day.  Scribner,  1900. 
COLOR,  DRESS  AND  NEEDLEWORK. 

Lucy  Crane.  Macmillan. 

HOPES  AND  FEARS  FOR  ART.  Morris. 
Longmans,  1904. 

ART  AND  FORMATION  OF  TASTE. 

Lucy  Crane.  Chautauqua  Press,  1885. 
EVOLUTION  IN  ART.  A.  C.  Haddon. 
Scribner,  1895. 

HISTORY  OF  ART.  Lubke.  Dodd,  1886. 
17TH  ANNUAL  REPORT  ON  LABOR: 
Art  in  Industry.  C.  D.  Wright.  Gov- 
ernment Printing  Office,  1902. 

PLEA  FOR  HANDICRAFT.  Crane.  The 
Philistine  Magazine,  March,  1900. 

A SHORT  HISTORY  OF  TAPESTRY. 

Muntz.  Cassell,  1885. 

SOME  ARTS  AND  CRAFTS.  Dutton. 
Woman’s  Library,  Vol.  IV,  1903. 


132 


A SEWING  COURSE 


THE  DOLL  BOOK.  Laura  B.  Starr.  Out- 
ing Publishing  Co.,  1908. 

ORIENTAL  RUG  BOOK.  Ripley,  1904. 
PRINCIPLES  OF  HOME  DECORATION. 
Wheeler.  Doubleday,  1903. 

VII.  ORNAMENT  AND  DESIGN. 

LESSON  ON  DECORATIVE  DESIGN. 

Jackson.  Chapman,  London,  1894. 
GRAMMAR  OF  ORNAMENT.  Owen 
Jones.  Bernard  Quaritch,  London, 
1868. 

EGYPTIAN  DECORATIVE  ART.  F. 

Petrie.  Putnam,  1895. 

DESIGN  FOR  WOVEN  FABRICS.  Step- 
henson. Stephenson,  Methuen,  Lon- 
don, 1900. 

vm.  DRESS. 

GLOVES — Their  Annals  and  Associations. 

Beck.  Hamilton,  London,  1883. 

A BOOK  ABOUT  FANS.  Flory.  Macmil- 
lan, 1885. 

LACE.  Goldenberg.  Brentano,  1904. 

LA  DENTELLE  ET  LA  BRODERIE  SUR 
TULLE,  Vols.  I and  II.  Pierre  Ver- 
hagen.  J.  Lebeque  et  cie,  Bruxelles. 
ART  AS  APPLIED  TO  DRESS.  Higgin. 

Virtue,  London,  1885. 

BEAUTY  IN  DRESS.  Oakley.  Harper, 
1881. 

HISTORY  OF  FASHION  IN  FRANCE. 

Challamel.  Low,  London,  1882. 

ART  AND  ORNAMENT  IN  DRESS.  Chas. 

Blanc.  Chapman,  London,  1887. 

THE  WELL  DRESSED  WOMAN.  Ecob. 
Fowler,  1893. 

COSTUMES  OF  COLONIAL  TIMES. 

Earle.  Macmillan,  1903. 

HISTORY  OF  ENGLISH  DRESS.  Hill, 
Bentley,  London,  1893. 

GREEK  DRESS.  Lady  Evans.  Macmil- 
lan, 1893. 

WHAT  DRESS  MAKES  US.  Quigley. 
Dutton,  1897. 

HISTORIC  DRESS  IN  AMERICA.  Mc- 
Clellan. Jacobs,  1904. 

ENGLISH  COSTUME.  Calthorp.  A.  & 
C.  Black,  London,  1906. 
GENTLEWOMAN’S  BOOK  OF  DRESS. 

Douglass,  Henry  Loud. 

HOW  TO  DRESS  A DOLL.  Mary  II. 
Morgan.  Henry  Altemus  Co.,  Philadel- 
phia, 1908. 

IX.  ARCHITECTURE  AND  FURNISH- 
ING. 

DECORATION  OF  HOUSES.  Wharton. 
Scribner,  1897. 


OLD  FURNITURE  BOOK.  Moore. 

OLD  CHINA  BOOK.  Moore.  Stokes,  1903. 
COLONIAL  FURNITURE  IN  AMERICA. 

Lockwood.  Scribner,  1901. 
JAPANESE  HOMES  AND  THEIR  SUR- 
ROUNDINGS. Morse.  Ticknor,  1885. 
OUR  HOMES  AND  HOW  TO  BEAUTIFY 
THEM.  Jennings.  Harrison  London, 

1902. 

WALL  PAPER.  Jennings.  Comstock, 

1903. 

FURNITURE  OF  THE  OLDEN  TIME. 

Francis  Morse.  Macmillan,  1902. 
HISTORY  OF  ENGLISH  LITERATURE. 

Percy  Macquoid.  Putnam,  1904-0. 

ON  THE  NATURE  OF  THE  GOTHIC. 
Ruskin. 

STONES  OF  VENICE.  Ruskin.  Allen, 
London,  1886. 

HISTORY  OF  ARCHITECTURE.  Hamlin. 
Longmans,  1895. 

A SHORT  HISTORY  OF  ARCHITEC- 
TURE. Tuckerman.  Scribner,  1887. 
ARCHITECTURE  OF  THE  RENAIS- 
SANCE IN  ITALY.  Anderson.  Bats- 
ford,  London,  1898. 

THE  BOOK  OF  100  HOUSES.  H.  Stone. 
The  author,  1902. 

HOMES  IN  CITY  AND  COUNTRY.  H. 

Stone.  The  author,  1903. 
CONVENIENT  HOUSES.  Louis  H.  Gib- 
son. Crowell,  1889. 

DEVELOPMENT  AND  CHARACTER  OF 
GOTHIC  ARCHITECTURE.  Moore. 
Macmillan,  1889. 

ARCHITECTURAL  STYLES.  Rosen- 
garten.  Chatto  and  Windus,  London, 
1889. 

HOME  BUILDING  AND  FURNISHING. 

Price  and  Johnson.  Doubleday,  1895. 
HOMES  IN  CITY  AND  COUNTRY. 
Scribner,  1893. 

THE  HOUSE  DIGNIFIED.  French.  Put- 
nam, 1908. 

CHATS  ON  OLD  FURNITURE.  Hayden. 
Stokes,  1906. 

X.  INDUSTRIAL  AND  TECHNICAL 
EDUCATION. 

EDUCATIONAL  FOUNDATIONS  OF 
TRADE  AND  INDUSTRY.  Fabian 
Ware.  Appleton,  1901. 

MANUAL  TRADE  AND  TECHNICAL 
EDUCATION:  Proceedings  of  the 
National  Educational  Alliance.  Thos. 
M.  Balliet,  1903. 

MAKING  THE  WORKING  GIRL  A 
CRAFTS  WOMAN.  Elizabeth  Mc- 
Cracken. The  Outlook,  Vol.  84,  Dec. 
23,  1906. 


SUGGESTIVE  LIST  OF  DOMESTIC  ART  BOOKS 


133 


THE  PROBLEM  OF  INDUSTRIAL  EDU- 
CATION : C.  R.  Richards.  Manual 
Training  Magazine,  Vol.  8,  April,  1907. 

THE  TREND  IN  AMERICAN  EDUCA- 
TION. James  E.  Russell.  Educational 
Review,  Vol.  32,  June,  1906. 

THE  URGENT  NEED  OF  TRADE 
SCHOOLS.  Frank  A.  Vanderlip. 
World’s  Work,  Vol.  12,  June,  1906. 

FOURTH  ANNUAL  REPORT  OF  THE 
BUREAU  OF  STATISTICS  OF 
LABOR  OF  THE  STATE  OF  N.  Y., 
1886.  Apprenticeship.  Albany,  1887. 

VOL.  7,  RELATIONS  AND  CONDITIONS 
OF  CAPITAL  AND  LABOR  employed 
in  the  Manufactories  of  General  Busi- 
ness. Industrial  Commission,  Report 
of  the  U.  S.  Washington,  1901. 

EDUCATION  AND  INDUSTRY  IN  THE 
UNITED  STATES.  Special  Reports 
on  Educational  Subjects.  H.  T.  Mark. 
Education  Department,  Vol.  II,  1902, 
Part  2.  Eyre  & Spottiswoode,  London. 

REPORT  OF  MASSACHUSETTS  COM- 
MISSION ON  INDUSTRIAL  AND 
TECHNICAL  EDUCATION.  Boston, 

1906.  Reprinted  by  Teachers  College. 

REPORT  OF  THE  MOSELEY  EDUCA- 
TIONAL COMMISSION.  Co-operative 
Printing  Society,  London,  1904. 

TRADE  AND  TECHNICAL  EDUCATION, 
17th  Annual  Report  of  the  U.  S.  Com- 
missioner of  Labor.  Washington,  1902. 

THE  ORGANIZATION  OF  TRADE 
SCHOOLS;  from  the  Point  of  View  of 
a Trade  School  Director.  Proceedings 
of  the  National  Educational  Associa- 
tion, 1903.  Reprinted  in  the  Proceed- 
ings of  the  Society  for  the  Promotion 
of  Engineering  Education,  Vol.  II, 
A.  L.  Wiliston,  1903. 

THE  BASIS  OF  AN  EFFICIENT  EDUCA- 
TION-CULTURE OR  VOCATION. 
Robert  A.  Woods.  The  School  Review, 
Vol.  15,  May,  1907. 

THE  MANHATTAN  TRADE  SCHOOL 
FOR  GIRLS.  Mary  S.  Woolman.  Ed- 
ucational Review,  Vol.  30,  September, 
. 1905. 

TRADE  SCHOOLS— AN  EDUCATIONAL 
AND  INDUSTRIAL  NECESSITY. 
Mary  S.  Woolman.  The  Social  Educa- 
tion Quarterly.  Vol.  I,  March,  1907. 

INDUSTRIAL  EDUCATION  IN  PUBLIC 
SCHOOLS.  J.  Ernst  G.  Yalden. 
American  Machinist,  Vol.  30  April  18, 

1907. 

BULLETINS  OF  NATIONAL  SOCIETY 
FOR  PROMOTING  INDUSTRIAL 
EDUCATION.  New  York  City. 

WORKING  WITH  THE  HANDS.  B. 
Washington.  Doubleday,  1909. 


TECHNICAL  EDUCATION  FOR  GIRLS 
AT  HOME  AND  ABROAD.  Macmil 
lan. 

XI.  SOCIAL  AND  INDUSTRIAL  LIFE. 

INDUSTRIAL  EVOLUTION  OF  THE 
UNITED  STATES.  Wright.  Chau- 
tauqua Press,  1895. 

INDUSTRIAL  HISTORY  OF  THE  UNIT- 
ED STATES.  Coman.  Macmillan, 
1905. 

GENERAL  HISTORY  OF  COMMERCE. 

Webster.  Ginn,  1903. 

SOCIAL  CONTROL.  Ross.  Macmillan, 

1901. 

THE  LEAVEN  IN  A GREAT  CITY.  Lil- 
lian W.  Betts.  Dodd,  1902. 
AMERICAN  MUNICIPAL  PROGRESS. 

Zeublin.  Macmillan,  1897. 

NEW  YORK  POLITICAL  PRIMER.  Adele 
M.  Field.  Macmillan,  1897. 
DEMOCRACY  AND  SOCIAL  ETHICS. 

Jane  Addams.  Macmillan,  1902. 
THE  LEVEL  OF  SOCIAL  MOTION. 

Lane.  Macmillan,  1902. 

THE  THEORY  OF  THE  LEISURE  CLASS. 

Veblen.  Macmillan,  1897. 
EVOLUTION  OF  INDUSTRIAL  SOC- 
IETY. Ely.  Macmillan,  1903. 
EVOLUTION  OF  INDUSTRY.  Dyer. 
Macmillan,  1895. 

NEW  BASIS  OF  CIVILIZATION.  Pat- 
ten. Macmillan,  1907. 

OUT  OF  WORK.  Frances  Keller.  Put- 
nam, 1904. 

PROFIT  SHARING  BETWEEN  EM- 
PLOYER AND  EMPLOYEE.  Nich- 
olas Gilman.  Houghton,  1889. 

THE  EDUCATION  OF  THE  WAGE 
EARNER.  Davidson.  Ginn,  1904. 
SOME  ETHICAL  PHASES  OF  THE 
LABOR  QUESTION.  Carroll  D. 
Wright.  Am.  Unitarian  Association, 

1902. 

SOCIOLOGY.  Spencer.  Appleton,  1896. 
WOMAN  IN  THE  PAST,  PRESENT  AND 
FUTURE.  Bebel. 

LES  PROFESSIONS  ACCESSIBLES  AUX 
FEMMES. 

DEMOCRACY  AND  EMPIRE.  Giddings. 
Macmillan,  1900. 

WOMEN  WAGE  EARNERS.  Helen  Camp 
bell,  1887. 

WOMAN ’S  WORK  IN  AMERICA.  Meyer. 
Holt,  1891. 

HISTORY  OF  TRADE  UNIONISM.  Webb. 
Longmans,  1902. 

EDUCATION  AND  PROFESSIONS.  The 
Woman’s  Library,  Vol  I,  1903.  Dut- 
ton. 


134 


A SEWING  COURSE 


COMMERCIAL  AND  INDUSTRIAL  GE- 
OGRAPHY. McFarlane.  Philadel- 
phia Commercial  Museum.  1901. 

INDUSTRIAL  HISTORY.  Yols.  I and  II. 
Ashley.  Rivington,  London,  1888. 

A HANDBOOK  OF  EMPLOYMENTS. 
Gordon.  The  Rosemont  Press,  Aber- 
deen, Scotland,  1908. 

HOW  TO  HELP.  Conyngton.  Macmillan, 
1909. 

STANDARDS  OF  LIVING  IN  WORKING 
MEN’S  FAMILIES  IN  NEW  YORK 
CITY.  Chapin.  Charities  Publication 
Committee,  1908. 

WOMEN  IN  INDUSTRY.  Abbott.  Ap- 
pleton, 1909. 

HOME  PROBLEM  FROM  A NEW 
STANDPOINT.  Hunt. 

THE  FAMILY.  Helen  Bosanquet.  Long- 
mans, 1906. 

TRADE  SCHOOLS  AND  CULTURE. 
Woolman.  1909. 

xn.  COLOR. 

PHILOSOPHY  OF  COLOR.  Clifford.  The 
Author,  1904. 

EDUCATION  OF  THE  NORMAL  COLOR 
SENSE.  Jeffries.  U.  S.  Bureau  of 
Education,  Circular  of  Information, 
1994. 

AN  ELEMENTARY  MANUEL  OF  COLOR 
FOR  STUDENTS.  Church.  Cassell, 
1891. 

COLOR  VISION.  Hunt.  Simpkin,  1892. 

COLOR.  Van  Bezold.  Prang,  1876. 

STUDENTS  TEXTBOOK  OF  COLOR. 
Rood.  Appleton,  1881. 

COLOR  IN  SCHOOLROOM.  ELEMENT- 
ARY COLOR.  Bradley.  M.  Bradley, 
1890. 

MANUAL  OF  COLOR.  Cave.  Putnam, 
1882. 

SUGGESTIONS  FOR  INSTRUCTION  IN 
COLOR.  Prang.  1893. 

THE  COLOR  SENSE.  Grant  Allen.  Paul, 
London,  1892. 

PRINCIPLES  IN  HARMONY  AND  CON- 
TRAST OF  COLOR.  M.  E.  Chevreul. 
Geo.  Bell,  London,  1883. 

THEORY  AND  PRACTICE  OF  TEACH- 
ING ART.  Dow.  Bureau  of  Publica- 
tion, Teachers  College,  1909. 

XIII.  EQUIPMENT  AND  ADMINIS- 
TRATION. 

ECONOMICS  OF  MANUAL  TRAINING. 
Rouillion.  1905. 

BULLETIN,  STOUT  MANUAL  TRAIN- 
ING SCHOOL,  Menominee,  Wis. 


SCHOOL  SANITATION  AND  DECORA 
TION.  Burrage  & Bailey.  Heath, 
1899. 

CIRCULARS  OF  EQUIPMENT,  SUP- 
PLIES AND  FURNITURE. 
RELATIVE  VALUE  AND  COST  OF 
TRADES  IN  A GIRL’S  TRADE 
SCHOOL.  Woolman.  Manhattan  Trade 
School,  New  York,  1909. 

THE  MAKING  OF  A TRADE  SCHOOL. 
Woolman.  Whitcomb  & Barrows, 
Boston,  1910. 

ANNUAL  REPORT  OF  THE  MANHAT- 
TAN TRADE  SCHOOL,  New  York. 

XIV.  ECONOMICS. 

ECONOMIC  FUNCTION  OF  WOMEN. 
Edward  Devine.  Pub.  of  American 
Academy  of  Political  and  Social 
Science,  No.  133,  Philadelphia. 

THE  WOMAN  WHO  SPENDS.  Richards. 
Whitcomb,  1904. 

OUTLINES  OF  ECONOMICS.  Ely.  Mac- 
millan, 1900. 

MONOPOLIES  AND  TRUSTS.  Ely.  Mac- 
millan, 1900. 

ELEMENTARY  ECONOMICS.  Ely  and 
Wicker.  Macmillan,  1904. 

ECONOMIC  HISTORY,  I and  II.  Ashley. 

Rivington,  London,  1888. 

HOW  TO  KEEP  HOUSEHOLD  AC- 
COUNTS. Haskins.  Harper,  1903. 
HOME  ECONOMICS.  M.  Parloa.  Cen- 
tury, 1898. 

PRINCIPLES  OF  ECONOMICS.  Fetter. 
Century,  1904. 

ENCYCLOPEDIA  OF  HOUSEHOLD 
ECONOMY.  E.  Holt.  McClure,  Phil- 
adelphia, 1903. 

THE  COST  OF  LIVING.  Ellen  H.  Rich- 
ards. Whitcomb  & Barrows. 

THE  COST  OF  SHELTER.  Ellen  H.  Rich- 
ards. Whitcomb  & Barrows,  1905. 
THE  WOMAN  WHO  SPENDS.  Richard- 
son. Whitcomb  & Barrows. 

THE  GIRL  WHO  EARNS  HER  OWN 
LIVING.  Richardson.  Dodge,  1909. 

XV.  HYGIENE. 

MANUAL  OF  PERSONAL  HYGIENE. 
Pyle.  Sanders,  1900. 

FOOD  AND  DIETETICS.  Hutchinson. 
Wood,  1900. 

HYGIENE  OF  SCHOOL  ROOM.  Berry. 

Snow  and  Farnham,  1903. 

HUMAN  BODY.  Martin.  Holt,  1900. 
FIRST  AID  TO  INJURED.  Morton. 
Beacham,  1884. 


APPENDIX  A 


DOMESTIC  ART  COURSE 

Handwork  and  Connected  Thought  as  given  in  a City  Elementary  School 

KIND  OF  SCHOOL : — City  school  in  crowded  section. 

ENVIRONMENT: — Poor  working  class,  living  in  small,  often  dark  apart- 
ments, with  insufficient  room  for  the  family. 

NEEDS : — Ideas  of  cleanliness,  neatness,  economy  and  simple  beauty.  The 
articles  for  everyday  use. 

To  prepare  children  for  occupational  life  at  home  or  in  trade. 

SCHOOL  AIM : — To  improve  the  home  conditions  and  make  pupils  efficient 
workers  in  school,  home  and  society. 

DOMESTIC  ART  AIM: — To  make  the  pupils  interested,  capable  workers, 
and  to  give  them  industrial  intelligence. 

The  first  three  grades  have  large  muscle  movements  and  a general 
knowledge  of  many  materials.  The  emphasis  in  these  grades  is  on  manipu- 
lation, not  on  a finished  product.  Each  article  can  be  made  quickly  and 
is  not  kept  for  exhibit,  but  put  to  immediate  use. 

CORRELATION : — First  three  grades : The  discussions  in  connection  with 
the  handwork  serve  to  unite  all  school  subjects  and  to  interest  the 
children  in  present-day  conditions.  Art  lessons  are  used  to  illus- 
trate the  handwork,  to  decorate  it  directly  or  to  make  designs  that 
may  be  used  in  the  sewing.  Number  work  is  needed  continually  in 
the  handwork.  English  is  used  for  expression,  for  spelling  terms 
in  use,  and  for  reading  which  will  explain  the  handwork  or  interest 
the  classes  in  industrial  life.  Primitive  history  connects  with  the 
primitive  handwork. 


GRADE  FIRST. 

Boys  and  girls  work  together.  Play  spirit  emphasized. 

VARIOUS  ACTIVITIES  USED: — Play, — dolls,  games  and  toys;  Art  work; 
paper  work ; Clay  modelling ; Primitive  cookery ; Simple  basket  forms ; 
Cord  work;  Nature  study;  Wood-work;  Domestic  Art  work,  (see 
below  where  these  last  activities  are  given  in  detail.) 

DOMESTIC  ART  OCCUPATIONS. 

I.  As  related  to  home. 

Aim:  care,  cleanliness  and  usefulness  of  each  child. 

Activities : scrub  cloth ; towel  fringed  or  held  with  a stitch ; 
duster ; holder  of  knotted  cord  for  duster ; wash  cloth ; iron 


136 


A SEWING  COURSE 


holder  (denim  with  coarse  stitch);  mop;  cord  work  for 
hangers  for  various  purposes;  crochetted  (chain)  horse- 
lines and  curtain  holders. 

JX  As  related  to  school. 

Articles:  desk  cloth;  burlap  bag  for  desk  (design  freehand); 
paint  cloth. 

TIL  As  related  to  industrial  life.  Beginnings  of  industry  and  com- 
munity life. 

Activities:  farms  and  occupations  on  sand  trays.  Sheep: 
the  life;  the  preparation  of  wool;  washing,  carding,  dye- 
ing, spinning,  weaving. 

The  loom : very  simple  rag  carpet. 

Clothing : considerations  of  use  of  wool. 

Farm  hats  of  raffia. 

Baskets  for  carrying. 

IV.  Christmas  gifts,  using  handwork  already  learned. 


GRADE  SECOND. 

Boys  and  girls  work  together. 

Aim  and  various  activities  as  in  first  grade. 

DOMESTIC  ART  OCCUPATIONS. 

I.  As  related  to  home.  The  play  spirit  of  childhood  utilized. 

Bedroom:  the  bed,  made  of  wood  and  cord;  mattress;  cover- 
ings; sheets;  blankets. 

Kitchen:  kettle  holder;  wash  cloth  (crochetted). 

Wash  day:  clothespins  bags;  iron  holders;  reel  of  wood. 
Dining  room:  the  table;  the  pad;  napkins;  rings;  cloth — 
fringed  and  overcast. 

II.  As  related  to  industrial  life. 

The  flax:  planted,  grown,  harvested. 

Cotton  and  flax  compared.  Cloth  bleached  and  dyed. 

III.  As  related  to  community  life. 

Village  making  on  a sand  tray;  home  industries  and  life 
represented.  American  Indian,  Eskimo,  African. 


GRADE  THIRD. 

Boys  and  girls  work  together. 

AIM : — Usefulness  and  interdependence  on  each  other.  Boys  and  girls 
work  together,  but  often  at  different  points  of  the  industry,  as  in 
real  life. 

General  handwork  of  many  kinds,  but  much  interrelated  to  show 
community  life. 


APPENDIX  A 


137 


DOMESTIC  ART  OCCUPATIONS. 

I.  As  related  to  home.  Supplementing  second  grade  work. 

Activities:  the  doll’s  house  made  and  furnished,  the  boys 
doing  woodwork  and  upholstery,  and  the  girls  textile 
work  in  curtains,  covers  and  rugs.  Art  work:  designing, 
papering,  furniture  of  rattan,  baskets  by  both  boys  and 
girls. 

Crochetting  articles  for  house  or  home. 

Repairing:  buttons  sewed  on  clothing,  coarse  darning  on 
sweaters,  strings  on  blouses. 

II.  As  related  to  school. 

Articles : bag  for  desk ; blotters ; book  bags  of  denim  or  cord ; 
penwipers. 

III.  As  related  to  industrial  life. 

Flax  and  cotton  (continued  from  second  grade)  : flax  retted, 
cleaned,  spun;  cotton  transportation,  picking  basket,  bags 
for  picking;  sails  of  boats;  bales. 

IV.  Personal  use:  mocassins  for  housewear,  planned  and  made. 


The  fourth  and  fifth  grades  are  able  to  do  finer  and  better  structural 
work.  They  still  have  many  varied  occupations,  but  less  than  the  first 
grades.  The  girls  are  almost  ready  to  specialize  in  one  or  two  lines.  Boys 
and  girls  still  work  together  at  times  in  the  fourth,  but  in  the  fifth 
are  separated,  and  each  group  works  at  the  kind  of  activity  best  suited 
to  its  future  need. 

CORRELATION : — Industrial  life  of  the  present  emphasized.  The  geog- 
raphy, local  history,  arithmetic  and  English  are  used  to  illumine 
the  subject  in  connection  with  the  handwork.  The  art  work  is 
utilized  directly  in  the  activities,  block  printing  and  stencilling  for 
covers  and  pillows,  and  design  for  decoration  of  neckties  and 
collars. 


GRADE  FOURTH. 

Boys  and  girls  together  in  some  occupations. 

AIM: — To  make  the  home  comfortable  and  attractive. 

Girls  take  some  of  the  clay  and  wood-work  with  the  boys. 

DOMESTIC  ART  OCCUPATIONS. 

I.  As  related  to  home. 

Living  room:  pillows  designed  and  made;  book  covers  (work 
of  girls). 

Cooking:  tray  covers,  napkins  marked  in  cross  stitch;  lunch 
cloth  (work  of  girls). 

Linen  closet  (made  by  boys) : roller  and  towels  (made  by 
girls)  : repairing  and  cleansing  (boys  and  girls). 

Personal:  carpentering  apron,  heavy  work  apron  with  pocket 
(boys  and  girls). 


138 


A SEWING  COURSE 


II.  As  related  to  industrial  life  (boys  and  girls). 

Study  of  cotton  and  linen;  bleaching,  washing  and  ironing. 
Silk  and  its  properties : materials  and  uses. 

GRADE  FIFTH. 

The  girls  continue  their  domestic  art  work,  the  boys  their  woodwork. 
AIM.  How  to  help  in  the  home,  to  keep  things  in  order  and  supply  needs. 
DOMESTIC  ART  OCCUPATIONS. 

I.  As  related  to  home. 

Activities:  emergency  box  and  supplies,  flannel  bag;  ban- 
dages; absorbent  cotton;  mustard  plaster  and  other  needs. 
Study  of  each  student ’s  own  room ; neckties ; collars ; laun- 
dry, shoe  and  other  bags;  cane  seating,  crochetting  wash 
cloth. 

II.  As  related  to  industrial  life. 

The  study  of  leading  materials  for  clothing,  what  they  are 
like  and  the  value  and  cost. 


The  three  final  grades  are  ready  for  good,  useful  work.  They  have 
passed  the  play  age  and  appreciate  their  ability  to  do  things  of  practical 
service.  They  can  now  work  hard  on  finer  handwork.  The  vocational  ele- 
ment of  preparing  for  life,  be  it  home  or  trade,  is  stronger  each  year. 
Thought  and  responsibility  are  fostered. 

CORRELLATION.  Constantly  present  but  more  indirect  in  the  academic 
subjects  than  in  early  grades.  History,  comparing  life  of  girls  in 
Colonial  days  with  modern  life  in  apartments;  slavery  times,  hand- 
weaving ; vocational  ideas — the  girl  in  the  home  and  at  work.  Arith- 
metic problems  of  quantity,  cost  and  use  of  spending  money.  The  art 
work  is  directly  utilized  in  designs  for  the  handwork. 


SIXTH  GRADE. 

The  girls  often  leave  the  school  after  this  grade  to  become  wage 
earners.  The  sewing  machine  work  is  given  to  aid  them  in  the  home  or  in 
business.  A light-running  machine  should  be  provided. 

AIM.  To  give  interest  and  skill  in  woman’s  work. 

DOMESTIC  ART  OCCUPATIONS. 

1.  To  review  stitches  learned  in  lower  grades;  needlebook  and 
pincushion.  Sewing  machines;  knowing  the  parts,  keeping 
in  order,  running.  To  prepare  for  cooking  classes;  apron, 
cuffs  and  cap.  To  prepare  for  laundry  work;  ironing  board 
cover.  For  personal  use ; petticoat  of  outing  flannel.  Knitting : 
wash  cloths,  wristlets,  simple  baby  sack.  Repairing;  stocking 
darning,  patching  of  clothing  and  table  linen. 


APPENDIX  A 


139 


II.  Industrial  life  in  form  of  discussions:  healthful  and  good  cloth- 
ing; study  of  materials;  inventors  who  changed  the  world 
through  textile  ideas — Whitney,  Arkwright,  Hargreaves, 
Crompton. 


GRADE  SEVENTH. 

This  grade  gives  its  handwork  time  principally  to  cookery,  conse- 
quently the  domestic  art  hours  are  shorter. 

AIM.  The  trustworthy  housekeeper. 

DOMESTIC  ART  OCCUPATIONS.  Handwork  and  the  sewing  machine. 

I.  As  related  to  home. 

Activities:  broom  cover;  napkins;  towels;  baby  wrapper. 
Cooking  connection:  jelly  bag  and  cooking  apron. 
Crochetting:  slippers  and  coarse  lace. 

Personal:  simplest  underwaist  without  seams;  use  of  pat* 
terns. 

Embroidery:  simple  decorative  stitches  for  baby  wrapper, 
underwaist  or  marking  towels. 

II.  As  related  to  industrial  life. 

Economical  buying  and  cutting  of  material;  cost  of  garments. 
The  life  and  needs  of  the  working  girl.  Economy  through 
repairs. 


GRADE  EIGHTH. 

Cooking  is  emphasized  in  this  grade,  so  sewing  has  only  the  minimum 
of  time. 

AIM.  The  useful,  trustworthy,  thinking  girl. 

DOMESTIC  ART  OCCUPATIONS. 

Cooking:  tray  cover;  napkin;  hemstitched  towel,  and  table  linen. 
Home:  baby  dress. 

Personal  use : chemise ; drawers ; or  white  skirt. 

As  related  to  industrial  life. 

The  home  and  its  management.  The  relation  of  the  girl  to 
home  and  to  business  life. 


APPENDIX  B 


HIGH  SCHOOL  DOMESTIC  ART  COURSE  FOR  GIRLS 

Suggestions  for  one  year  of  general  work  for  all  students.  Handwork 
and  connected  thought. 

I.  SEWING.  If  the  elementary  school  has  not  given  sufficient  experi- 

ence in  the  stitches  required  for  garment  making,  these  must  be 
learned  as  needed  in  the  high  school.  The  practice  on  this  neces- 
sary sewing  must  not  be  continuous  however,  as  sitting  long  at  a time 
in  one  position  is  not  a good  thing  for  girls  of  this  age.  The  sewing 
should  be  carefully  alternated  with  measuring,  cutting,  machine 
work  or  fitting,  and  the  work  should  be  done  on  real  articles  and 
not  on  models.  The  standard  of  work  should  be  good  for  the  purpose 
but  need  not  be  mechanically  perfect. 

(I)  Stitches  usually  needed:  running,  gathering  and  stroking, 
stitching  or  some  other  strong  stitch,  hemming,  overcast- 
ing, overhanding,  slip-stitching  and  buttonholes. 

(II)  Seams  and  applications  usually  needed:  French  and  fell 
seam,  plackets  for  skirts,  drawers  and  sleeves,  and  putting 
on  a band. 

(III)  Decorative  stitches:  featherstitch,  herringbone,  hemstitch, 

cross-stitch  and  satin-stitch. 

(IV)  Articles  on  which  to  learn  to  sew:  needlebook,  pincushion, 

bag  for  work,  napkin  or  towel,  and  simple  underwaist  with- 
out seams.  Where  the  elementary  school  has  given  suf- 
ficient practice,  these  articles  need  not  be  made. 

II.  MACHINE  WORK.  The  use,  care  and  running: 

(I)  Articles  on  which  to  learn:  apron,  cooking  cap,  shoe  bag, 

short  kimono,  baby  slip  and  pillow  case.  Usually  a couple 
of  these  articles  are  sufficient  before  beginning  the  garment 
making. 

III.  GARMENT  MAKING.  Machine  and  hand  sewing: 

(I)  Articles  for  practice: 

Underclothing:  drawers,  chemise,  nightgowns,  flannel  pet- 
ticoat or  short  muslin  underskirt. 

Outer  clothing:  jumper  of  cotton  material,  shirt  waist 
with  collar  or  stock,  dress  skirt  of  gingham  or  cotton 
duck. 

(II)  Patterns  used,  changed  to  fit  and  adapted,  drafting  only  as 

a means  of  explaining  the  construction  and  use  of  pattern. 


APPENDIX  B 


141 


IV.  DECORATION.  Simple  and  attractive,  designed  by  the  students  and 
applied  to  under  and  outer  clothing. 

V.  MILLINERY.  Making  bows  and  trimming,  renovating  materials, 
trimming  a bought  felt  hat,  making  a wire  frame  and  using  it  for  a 
lingerie  hat  or  lining  and  trimming  a bought  straw  hat.  This  work 
can  be  given  in  the  fall  in  order  to  make  a winter  hat,  and  in  the 
spring  for  a summer  hat. 

VI.  ADDITIONAL  SUGGESTIONS.  Darning,  patching  and  making  over 
old  garments  and  repairing  table  linen  and  bed  linen,  shortening 
and  lengthening  skirts,  and  other  practical  home  mending  can  well 
take  the  place  of  some  of  the  garments  of  this  course,  especially  in 
localities  where  the  homes  need  such  practical  work. 

VII.  CONNECTED  THOUGHT.  Planning  of  each  garment,  style,  mater- 
ial, amount  to  purchase,  decoration  ad  cost.  How  to  change  and 
make  patterns.  Taking  out  stains  and  renovating  materials.  Plan- 
ning economical  wardrobes,  underclothing,  gowns  and  hats.  The 
laundry  as  a factor  in  expense  of  clothing — tearing,  fading  and 
shrinking.  The  number  of  garments  needed  and  the  cost  as  related 
to  income.  Materials,  their  uses,  values  and  cost.  Health  and  the 
relation  of  clothing  and  material  to  it.  The  care  of  clothing — brushes, 
hangers,  drawers  and  closets.  Working  girls  in  garment  factories 
and  their  lives,  work  and  wages.  Bargain  sales.  Practical  problems 
in  arithmetic  connected  with  the  purchase  and  making  of  garments, 
the  changing  of  patterns  and  division  of  income;  making  out  of 
bills  and  percentage  in  wholesale  and  retail  buying,  and  in  the  rela- 
tion between  wages  in  different  trades  for  women. 


INDEX 


Application  of  Stitches,  62,  65. 

Appliquie,  115. 

Apron  of  Fine  Muslin,  101,  108. 

Aprons,  simple,  63. 

Backstitching,  47. 

Bands,  82. 

Basting,  44. 

Bias,  garment,  55 ; true,  55,  57 ; ruffle,  58. 
Bibliography,  129. 

Binding  Seams,  122. 

Blanket  Stitch,  71,  113. 

Bone  Casings,  122. 

Books,  Suggestive  List,  129. 

Braid,  sewing  on,  117. 

Button  Bag,  63 

Button-holes,  cotton,  67;  cloth,  68. 

Button,  sewing  on,  70. 

Canvas  Work,  37. 

Cardboard  Sewing,  35. 

Catch  Stitch  (Herring-bone),  103 
Chain  Stitch,  101. 

Children’s  Work,  10. 

Child  Study,  9. 

Circular  Patches,  92. 

Class  Lessons,  10. 

Cleanliness,  33. 

Coral  Stitch,  99. 

Correlation,  12. 

Cost  of  Maintenance,  29. 

Couching,  115. 

Counter-Hemmed  Patch,  92. 
Counter-Hemming,  61. 

Cross  Stitch,  111. 

Cutting,  17. 

Darned-in  Patch  for  Cloth,  97. 

Darning  a Kid  Glove,  86;  by  Fine  Draw- 
ing, 96;  Outline  of,  89;  Stockinet,  diag- 
onal, 85,  86;  stocking-web,  85;  warp 
and  woof,  85;  Wooven  Material,  diag- 
onal tear,  85,  87;  hedge  tear,  85,  87; 
warp  or  woof  tear,  85,  87;  worn  place, 
85,  87. 

Different  Ways  of  Making  Stitch,  32. 
Drafting  and  Cutting,  17. 

Drawing  and  Design,  14. 

Drawn  Work,  105. 


Dressmaking,  binding  skirts,  117;  plackets, 
119;  hook  and  eyes,  121;  binding  seams, 
122;  bone  casing,  122;  slip  stitching, 
123. 

Drills,  10. 

Embroidery  on  Flannel,  113;  Linen  (Satin 
stitch),  109. 

Equipment,  29. 

Exhibit,  annual,  31. 

Eyelets,  69. 

Fastening  the  Thread,  33. 

Feather  Stitch,  99. 

Fell,  Overhand  and,  61,  93,  96. 

Felling,  59. 

Fine  Drawing,  ball  covers,  64;  darning,  96  ; 

patching,  96;  seams,  61. 

Finished  Articles  and  Connected  Thought, 

11. 

Flannel  Embroidery,  113. 

Flat  Buttonhole  stitch,  71. 

Folding  Hem  in  Paper,  41. 

Foreign  Lands,  Sewing  in,  16. 

French  Knot,  113. 

French  Seam,  60. 

Front  of  Waist,  Finishing,  121. 

Garment  Bias,  55. 

Gathering,  44. 

Gauging,  44. 

Gore,  55. 

Grade  Work  Based  on  the  Industries,  18; 

on  the  Home,  19. 

Gusset,  77. 

Half-Backstitching,  47. 

Handkerchief,  hemstitched,  106. 

Handwork  for  the  First  Four  Grades,  20. 
Hangers  for  Skirts,  80. 

Heddle,  41. 

Hem  in  Paper,  41. 

Hemming,  51,  63. 

Hemstitching,  105. 

Herring-Bone,  103. 

Hook  and  Eyes,  121. 

Household  Arts  in  the  Grades,  18. 
Illustrations  on  the  Board  and  Frame,  32. 
Kensington  Outline  Stitch,  113. 

Kid  Glove  Darn,  86. 


143 


A SEWING  COURSE 


Knitting,  85,  89. 

Length  of  Thread,  33. 

Lesson  Plan,  25. 

Letters,  marking,  101,  109,  110. 

Loom,  40. 

Loops,  70;  of  Tape,  79. 

Marking,  101,  109,  110. 

Mitering,  41. 

Mounting  Work,  8. 

Napery  Stitch,  54. 

Neat  Finish,  32. 

Outline  Stitch,  113. 

Overcasting,  48,  63. 

Overhand  and  Fell,  61,  93,  96;  patch,  94. 
Overhanding,  seam,  53;  bias,  53;  napery, 
53;  selvages,  53;  lace,  53. 

Patch,  hemmed,  82;  overhanded,  94;  flan- 
nel, 95;  damask,  96;  cloth,  97. 
Patching,  91;  by  Fine  Drawing,  96. 
Patchwork,  45. 

Pattern  Weaving,  39. 

Petticoat,  56. 

Plackets,  skirt,  73;  shirt  waist,  74;  drawers, 
75;  lined  dress  skirt,  119. 

Pockets,  120. 

Position  in  Sewing,  23. 

Prices  of  Materials,  126. 

Purpose  of  the  Book,  7. 

Putting  on  Bands,  hemmed,  82;  stitched, 
83 ; setting  in  of  gathers,  83 ; over- 
handed, 83. 

Rapid  Work,  32. 

Ruffle,  bias,  58. 

Running,  43,  63 ; and  Backstitching,  49 ; and 
Stitching,  50;  Darn,  85. 

Sails,  61. 

Satin  Stitch,  109,  113. 

Scallop,  71,  113. 

Seam  Binding,  122. 

Seams,  single,  running,  43;  stitching,  47; 


backstitching,  47;  running  and  back- 
stitching, 49 ; overhanding,  53 ; fine 
drawing,  64,  96 ; double,  fell,  59 ; 
French,  60;  overhand  and  fell,  61; 
counter-hemming,  61. 

Self  Activity,  9. 

Sewing  for  Boys,  31,  64;  in  Public  Schools, 
8,  in  Foreign  Lands,  16;  on  Braid,  117 ; 
Buttons,  70;  Laboratory,  30;  Tape, 
79;  Velveteen,  117,  118. 

Shirring,  44. 

Skirt,  55. 

Slip  Hemming,  123;  Stitching,  123. 

Small  Travelling  Case,  100. 

Social  Serevice,  9. 

Stitched  Patch  for  Cloth,  98. 

Stitching,  47,  63. 

Stockinet  Darn,  86. 

Stocking  Web  Darn,  85. 

Stroking,  44. 

Suggestive  Sewing  for  the  Elementary 
School,  21. 

Supplementary  Work,  31. 

Tape  Measure,  33. 

Tape,  sewing  on,  79. 

Teacher,  The,  8. 

Textile  Study,  13. 

Trade  School  Teaching,  15. 

True  Bias,  55,  57. 

Tucking,  81. 

Trunk  Tray  Cover,  101. 

Twill  Weaving,  39. 

Tying  Fringe,  109. 

Under  Arm  Patch,  92. 

Velveteen,  sewing  on,  117,  118. 

Vocational  Foundation,  14. 

Warp  and  Woof,  31;  Darn,  85,  87;  Stock 
inet,  85;  Woven  Material,  87. 

Weaving,  39;  Outline  of,  89. 

Whipped  Hem,  107. 


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